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Pablo Berger

  • Leonard Maltin
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    BLANCANIEVES

    It’s almost impossible to write about this black & white silent film without mentioning last year’s sleeper "The Artist." Some critics have chosen to praise the Spanish import at the expense of its Oscar-winning predecessor—perhaps because it was drummed into the front ranks by Harvey Weinstein’s ag...

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    Review: Think 'The Artist' Was Overrated? Try Goya Winner 'Blancanieves' Instead

    There was nothing explicitly wrong with "The Artist," a tenderly made homage to the swan song of silent cinema, until it transformed into an Oscar behemoth. Part of the issue with "The Artist" becoming overrated was the notion that its appropriation of silent film language had no immediate parallel....

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    Exclusive Video: Pablo Berger Discusses Bringing Back Snow White for Spain's Foreign Language Entry 'Blancanieves'

    After screenings in Toronto, Rotterdam, and BFI's London Film Festival among many others, the U.S. release of the silent, black-and-white Snow White fable (Spain's official Oscar submission last year) "Blancanieves," is right around the corner. In anticipation of the release we have an exclusive vid...

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    Watch: Pablo Berger Introduces a New Bullfighting Snow White in 'Blancanieves' (VIDEO)

    Watch: Pablo Berger Introduces a New Bullfighting Snow White in 'Blancanieves' (VIDEO)

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    TIFF Capsule Review: 'Blancanieves'

    Forget “Mirror, Mirror” and “Snow White and the Huntsman” — this year’s most daringly original adaptation of the Brothers Grimm fairy tale is “Blancanieves,” from Spanish director Pablo Berger (the porn comedy “Torremolinos 73”). Shot as a silent film (Weinstein brothers, take note) and set in the 1910s and 1920s in Andalusia, this movie casts the evil stepmother (Maribel Verdu, the hot mamacita from “Y tu mama tambien”) as a plotting nurse who marries the paraplegic father of Snow White (Daniel Gimenez Cachio), a former toreador who was gored in the arena, and throws ...

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