# El cine en Blanco y negro de la era moderna

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 6 May 2024, 39 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59842225/lloviendo_bn.mp3

En el programa de hoy de Lloviendo cine hablamos de cine en blanco y negro. Pero de la era contemporánea. Van a venir a nuestro programa las películas más destacadas rodadas en esa infinita gama de grises a partir de la década de los setenta, fuera de la época clásica del blanco y negro, hasta nuestros días. Las músicas del podcast proceden de: https://musopen.org/music/25719-ma-vlast-vltava-the-moldau/ Pyotr Ilyich Tchaikovsky, CC0, via Wikimedia Commons Ludwig van Beethoven, CC BY-SA 3.0 , via Wikimedia Commons

## Transcript

[0:26] So let' s stay because we started one more show of your favorite podcast
[0:33] I seeing at the end which are all pertinent inconveniently invited. You don'
[0:38] t need any kind of entry, you don' t need any permission.
[0:42] The doors are wide open one more program of it. Seeing cinema in which
[1:03] we have thought about black and white movies, but not those black and white
[1:10] movies that we all have in mind and that you are thinking at the moment
[1:15] not, although some may be that this way, as we always do,
[1:22] we explain ourselves to talk about black and white movies, but about black and
[1:27] white movies outside of the classical era, of the golden age of cinema,
[1:34] of Hollywood or of black and white movies, because when we hear that,
[1:40] black and white movies, we imagine Bety Davis, to Catheric of bu acare
[1:46] great the decade of the thirties, of the forties, even of the fifties,
[1:52] even the cinema that did not speak, the silent cinema comes to mind.
[2:00] Well, this time we' re going to talk about black and white
[2:05] movies, black and white movies that existed outside the classical era, because we
[2:09] ' re going to try to degrate the most prominent black and white movies outside
[2:16] that classical era. Let' s talk about contemporary era black and white film
[2:23] and we' ll realize that there are more black and white films from the
[2:43] contemporary era, which we don' t believe but still. Anyway, there
[2:47] ' s going to be some digging because I already say it looks like no,
[2:53] but if there are, there are and more than they seem. But
[2:58] of course, first of all, before we choose those films worthy of being
[3:02] mentioned in today' s program, of which I see cinema, before we
[3:07] enter the meo meo, we have to set a limit until when it can
[3:14] be considered a classic era of cinema and since when the modern era or it
[3:20] was contemporary of it. We have to mark a before and after just to
[3:23] be able to choose those films, because we can set one date or another,
[3:30] but of course, if we put it, let' s go for
[3:35] the decade of the seventies, the decade that changed Hollywood, the years pass
[3:43] and the more years pass that could be considered films of the contemporary era.
[3:46] They won' t be anymore. So much so, it is clear that
[3:50] the 21st century films, more or less, can be considered modern, but
[3:54] relatively, until recently, the films of the 1970s were also considered as them.
[4:02] Therefore, we chose the decade that changed Hollywood, that decade of the
[4:08] seventies to mark that dividing line. Well, to understand us, to set
[4:14] a limit. We do it that decade of the seventies and one and once
[4:18] chosen on the line, because we have to go with the movies. Of
[4:24] course, cinema is no longer officially black and white. The majority of cinemas,
[4:30] not only in the present era, but from that decade of the seventies
[4:33] onwards, were color. There' s no need to choose black and white
[4:39] anymore. The rare thing is to choose that black and white that is leged
[4:44] already we say for reasons almost of cinematographic gor, exercises of whimsical style of
[4:51] the director, or because simply the story gains whole with that photograph of the
[4:59] black and white and, as I would say, it is the infinite range
[5:04] of elucidation, since the theme of classical epoch, contemporary epoch of the seventh
[5:09] Art. We' re going with the movies and we' re going to
[5:15] start strong because we' re going to tell you what they are, in
[5:18] opinion, raining movies, the best black and white movies of the modern era,
[5:24] because we waited in the end and we got six. In this case
[5:25] it' s not a top ten, it' s a top six.
[5:28] The complicated order. Today could be one and tomorrow might well be another.
[5:33] That' s why it' s best to say them without a specific order,
[5:39] as we' re going to say. It does not imply any preference
[5:42] if, on the other hand, it is those six that are the six.
[5:46] But look we keep the suspense and first we say its directors. But
[5:51] as a good understanding, few words are enough if we say the names of
[5:57] these six directors, as the list almost comes out alone. Well, five
[6:03] and a half directors. These are Peter Bogdanovich, Boody Allent, Martin Scorsese,
[6:09] Tim Burton and Francis Horcopola. We say six or five and a half.
[6:14] Well, because the last one is Boody Allen again and the movies are
[6:19] Peter Bogdanowicz, The Pitter Show. The generation that changed Hollywood. It seemed
[6:26] that Peter Bogdanovich was going to place himself, along with almost all those mentioned
[6:32] above, at the head of that new generation. What happens is that Peter
[6:36] Bock Tanwich really in that sense, lasted a little bit, but how he
[6:42] started. It wasn' t his first film, but it was the one
[6:46] that opened the doors of the starring film Cineasta bonita the one of the year
[6:53] nine hundred and seventy- one, the starring Jeff Britches, Team, Mothy
[6:59] Bottoms and Symill sever as he wasn' t going to choose Don Peter Bogdanovich,
[7:05] a black and white to set this movie for those or called Comminoffech.
[7:09] Curiosity, who was the director of photography of The Last Tor Show, a
[7:15] Nicholas Joseph Vonne Stenvers, the son of Joseph Vonnestenberg, of the films of
[7:23] Marlen Dicentretch. How could it not be if Don Peter Bow Danoich was quite
[7:29] a cinephile and redeemer. Second film, Buddy Allen, appears with Manhattan in
[7:35] the opinion of Jovindo Cine, the best film by the American director year nineteen
[7:43] hundred and seventy- nine. Two had passed since their triumph to best movie
[7:48] with annihol and Budiellin. He takes off his mask and rolls his black and
[7:55] white film into a glorious black and white film photographed by the great Gordon Willis,
[8:01] and the generation that changed Hollywood did not take too long, as we
[8:05] are seeing, to make at least one black and white film. The next
[8:09] to do so was Martin Scorsese with wild bulls, in the opinion of Joviendo
[8:16] Cine, the best film by the American director year nineteen hundred and eighty.
[8:22] Don Martín Escorsé the one who calls back his friend Paul Rader to co-
[8:28] write the script In this autobiography of the American boxer Jack la Mota. Director
[8:37] of Photography, one of Hollywood' s usual films, Michael Chaman, and
[8:43] Francis Ford Coppola, made in the year nineteen hundred and eighty- three one
[8:48] of the most underrated films in his filmography, La Ley de la Calle,
[8:54] a sensational film with a micrure in the best role of his career, photographed
[9:03] by another regular of Hollywood' s greats is Stephen h Buru, the usual
[9:09] director of photography of Brian de Palma' s films. It could almost be
[9:16] said that he can' t be considered a film director if at some point
[9:22] in your career you haven' t considered yourself, at least make a black
[9:28] - and- white movie and we have an intruder, but a magnificent intruder.
[9:31] Also another cinéfilo and redeemo don Tim Burton, who in the year ninety
[9:37] - four made, as we will say, his best film, Edwood.
[9:43] And if you do a biopic about the worst director in the history of cinema,
[9:48] because you have no other to shoot it in black and white, and
[9:52] he did it by the hand of the German director of photography, this Fan
[9:58] Savski, who became we would have to dedicate to some other program to the
[10:05] anonymous people of the world of cinema. He became the first usual director of
[10:09] photography for Tim Burton Batman' s cinema. Eduardo comes back with scissors hands
[10:16] or there' s Edwood and we say body Allen again with which of his
[10:24] movies, more than one black- and- white movie. It comes next,
[10:28] because with cellar this false documentary, the best false documentary in the history
[10:33] of cinema, photographed again by Don Gordon Willis, that we would dare say
[10:39] a kind of preamble, a kind of prequela, a kind of antecedent of
[10:48] Forrest Gump. And we say no more if you hadn' t fallen into
[10:54] the matter by buying one film and another compare one character and another, and
[11:01] then draw your own conclusions, for six five directors have opened the listening program
[11:07] and raining movies dedicated to the best films or, at least, the movies
[11:11] worthy of mention, which were shot in black and white in the modern era.
[11:20] And you' ve noticed that practically all the films we' ve named
[11:24] are the best subdirectors movies. Well, then, let' s move on
[11:33] to the citations and claims section, and let' s go with another six,
[11:39] with so many others. Some of the ones we' re going to
[11:43] name are known and some aren' t so well known and would have to
[11:48] be a movie when we were witches. Icelandic film of the year nine hundred
[11:54] and ninety, where this server goes. With the Icelandic film of the year
[11:58] nine hundred and ninety, it was directed by director Niezka Kin, who,
[12:03] despite what might seem, was an American director, already deceased, by the
[12:09] way, twenty years ago. Apart from the glorious black and white of this
[12:15] good and unknown Icelandic film, the interest of this film set in the world
[12:20] of witchcraft, of the Middle Ages, is found in which the protagonist of
[12:26] it is worstek, a young bior. It was not his debut in cinema,
[12:33] but his first leading role. By the way we are going to do
[12:39] it with all the films to his director of photography, the American randolh Sellas
[12:46] second film, worthy of mention and worthy of vindication in a Spanish film Blanca
[12:54] Nieves. La Blanca Nieves by Pablo Berger, the director of Robot Dreams,
[12:58] who won the Goya for best film for this adaptation of the story of the
[13:05] brothers Grieve year two thousand twelve, the director of photography, one of the
[13:11] great directors of photography of the Spanish cinema of recent times, Kiko de la
[13:18] Rica. Because the good of Don Kiko has worked with Julio meden Santiago Segura,
[13:24] Daniel Sánchez Arévalo, Alex de la Iglesia, Miguel Albaladejo, Jaime Drmiñán,
[13:30] Jrus Gutiérrez Hoizi Argoyain has worked with practically everyone, saying in turn the
[13:37] usual director of photography of Pablo Berger. Next movie, we leaped fifty years
[13:46] ago to Alicia in the cities, one of Binvender' s best films,
[13:50] one of the best films ever filmed about friendship, in this case between an
[13:56] adult and a nine- year- old girl. The usual one of Bivenders
[14:03] ' fetish actors, Rudigger Bugler, photographed on this occasion by Binvenders' usual
[14:09] director of photography, Robbemuel, one of the greats of photography of the Seventh
[14:18] European Art. Next film we continue in the seventies and go high in style
[14:24] young Frankenstein one and the great comedy directed by Mel Bruks In the year nineteen
[14:31] hundred and seventy- four. Parody tribute to James World' s classic classic
[14:39] Frankenstein, director of photography, as another usual suspect in photographic direction of that
[14:48] time, Gerald Hitchip. And we return to Europe to talk about one of
[14:52] the best films of Last von Trier Europe year one thousand nine hundred and ninety
[15:00] - one, one of the most excruciating and most irritating films of its director,
[15:07] so much that it had three directors of photography, Genit Betsen, Jean
[15:15] Paul Marris and Edward Cloussinski. But we keep this name. We cannot leave
[15:28] it to Don André and Tarkovsky who, if not directed black and white in
[15:33] their entirety, played with it, shot part in color and part not,
[15:39] but others did do it in its entirety, such as Consolaris or Stalker.
[15:46] We talked about his modern era, because with Ivan' s childhood he had
[15:52] already done it blank and he. And if you talk about André and Darkovski,
[15:56] you relate it. Although his films are officially in color with black and
[16:02] white, it seems that his films have that infinite gray gamma And since we
[16:11] have named Solaris and Stalker, let' s name their respective photography directors.
[16:17] Solaris Budingjus of the usual first stage of film by Andrei Tarkovski andstalker had two
[16:23] Alexander Niazhinski and Georgi Redvert. And after these six mentions, we' re
[16:33] not going to say that then the others come, because among those others,
[16:38] that no more, there is some majestic work, but now the rest comes,
[16:45] that not the remains and also comes some other claim and, as we
[16:51] always say in these cases, raining cinema, if we let any add it,
[16:56] on your own to this particular list. Movie Plissanville year in a thousand
[17:03] nine hundred and ninety- eight, American film, film directed by Gary Ross,
[17:10] Good and pretty, fantastic cut film, nostalgic cut, which also plays
[17:17] with color and black and white, but this time in a way nothing casual,
[17:22] but is part of the plot and plot that we will not reveal from
[17:26] the film. Director of photography, as another one of those who will never
[17:33] lack work in Hollywood. John Lindley, in faith that made him work,
[17:40] the good director, the good Gary ross to Mr Lindley to achieve the purposes
[17:45] that he sought for this good and beautiful film hurry b Kerry, we vindicate
[17:52] what we recommend from there. In today' s Jovin Dothin show, the
[17:56] next film, also American, also from the 1990s, but of a very
[18:02] different cut, Kevin Smith' s Clerks film is the cult director of the
[18:07] film subculture of that one. Every year a thousand nine hundred and ninety-
[18:15] four with Clerks. With this cousin opera, Kevin Nesbit entered through the big
[18:19] door into that little beer film subculture in the hand of Saturday night. Black
[18:29] - and- white film, film photographed by a then- young David Claine,
[18:37] who thus became the official director of good Kevin Smith' s photography and
[18:42] returns friend Budygalen back in the nineties to Clebrity. A year of nine hundred
[18:52] and ninety- eight, Boody Allen portrays the world of farandals and cinema in
[18:59] pieces. With this Thelibrity, photographed by Sven Nickvist, the usual director of
[19:07] photography, Dave mar Bernal Boody Allen was pleased to work with Mr Nickwitz for
[19:15] the fourth time in his career. He had already done it with another woman,
[19:22] with crimes and misdemeanors, and with his episode of Eddiepo repressed from New
[19:27] York stories. And now come two black and white movies with nuances still dying
[19:33] of Kenneth Branack. Year in a thousand nine hundred and ninety- one,
[19:40] a film somewhat unknown in its filmography and in which it plays with color and
[19:44] with black and white to count to the mode of plis Anville, the intrinculis
[19:51] of the plot of the film. Kenned Branak plays on this occasion Don Alfred
[19:56] Hiscock, with the help of Fox' s director, Matthew F Leonetti,
[20:02] another regular, another usual suspect in Hollywood cinema photography. And the second movie
[20:10] with Matices is Sin City year two thousand five. This film, directed to
[20:15] the Limón by Frank Miller, Quentin Tarantino and Robert Rodríguez, also plays with
[20:22] black and white and with the color we come from the world of Don Frag
[20:26] Miller' s comic book to tell the four stories that make up the film.
[20:33] Director of photography of the same. We know this one is that we
[20:37] just named him Don Robert Rodriguez so that they would walk in the branches when
[20:42] looking for another director of photography and much more recent is the film Mank the
[20:48] David Fincher year two thousand twenty. In this revisionist thesis of who wrote ciudad
[21:00] Danokane, who led the American director with Gary Oldman, who was responsible for
[21:07] the magnificent black and white photography of manc Eric Messervich, a man who has
[21:12] not gone too far in directing photography for cinema, but whom we have already
[21:18] seen in films like Ferrari or the most recent of David Fincher, the killer
[21:25] with whom David Fincher seems to have made friends from here to eternity and we
[21:30] come to Europe specifically to France, to talk about three films, among the
[21:37] many that in the neighboring country have been made with black and white photography.
[21:48] Film The Hate Year nine hundred and ninety- five, directed by Matthew cassolic
[21:57] instantly cult film that made the film debut as director of Mr Cassoviis. Laudable
[22:07] film, although an overrated peline, directed for photography by Mr Pierre Haim,
[22:15] of those directors of photography who will never lack the work, in this case
[22:21] in the neighboring country and also of France, is a winner of Oscar to
[22:26] the best film artist year two thousand eleven. Mitchel hassann Avicus, who also
[22:34] won the Oscar for best director, portrays the passage from silent cinema to sound
[22:41] cinema in a beautiful filmmaking exercise. His director of photography, as a regular
[22:49] in the films Hassan to Vicus Guillón Sigman and France, also comes a man
[22:56] of whom one could almost say that the rare thing in his filmography is that
[23:00] he makes films in color. Phillip Gagge, a man who, since his
[23:07] beginnings in the late 1960s, read this from the black and white of all
[23:12] those modern age films that Philipp Kagel has not directed in color, because we
[23:18] stayed with the usual lovers. Year two thousand five director of photography responsible for
[23:27] it, William Lup Chansky, a man who will never lack work when photographing
[23:33] films and who has even worked in Spain with David Trova in his opera prime
[23:37] the good life, or also, for example, with a certain Jean Lecolack,
[23:44] John Coo and of Frenche. We take a walk through the rest of
[23:52] Europe. One year two thousand thirteen and directed by Pavel pablicosk winner of the
[24:00] Oscar for the best non- English speaking film of the year two thousand fourteen.
[24:07] Why are the black and white photographs of the modern era so beautiful and
[24:11] so impeccable. One way is the best of it. She was also nominated
[24:18] for better photography, which had two directors, Lucas Sal and Richard Lenzevski,
[24:26] the first of whom Lukat Sal also photographed in black and white. The film
[24:33] of Pavel Pabil Kovski of the year two thousand eighteen Colworth, which was also
[24:41] on this issue. Nominated for best foreign film, nominated for best director and
[24:45] also nominated for best photography. And from Poland, we' re going to
[24:51] Hungary to talk. We said majestic films were coming. This is the film
[24:57] Rio sata An tango of the ineffable bela Tar year one thousand nine hundred and
[25:06] ninety- four. One of those films, four hundred and fifty minutes in
[25:14] time, is watched by a glorious black and white. Another of those directors,
[25:18] Don Bellatar, who seemed to only know how to shoot with the infinite
[25:25] range of Grises, his director of photography, a regular of his cinema,
[25:30] Gabor Medbigi, or honors, Mr Medwgi. And from Hungary we are going
[26:00] very close to Slovakia. Movie of the year two thousand twenty, film serfs
[26:07] of Ivan Ostrochovsky, film that we are going to claim and recommend in today
[26:15] ' s show of raining cinema, film in black and white, of those
[26:21] so- called revisionists, of authoritarian regimes of the Cold War, a bit
[26:26] like Ida or Coll Word, a film that claims black and white, a
[26:33] film that crosses religion with communism, a film that is photographed by yura s
[26:41] lepic names, both that of the director and his director of photography, and
[26:45] that of the same title of the film, that nothing they can say as
[26:51] if we had said other names. But the best of all is being able
[26:57] and able to enjoy movies as servants with films in short, in modern black
[27:06] and white and from Slovakia to Germany, where in the year two thousand nine
[27:12] Austrian Michael Janeke directed the white ribbon, one of his best films and that
[27:21] we already say, should have won the Oscar the best film in English speaking
[27:26] that year. Above the secret of his eyes. And for server and for
[27:32] jovino cinema, we are not saying any extraordinary barbarity photography in black and white,
[27:41] carried out by its director, Christian Berger, a regular in the photograph
[27:47] of Don Michael Hanek, who was going to better understand both that photograph and
[27:53] the intentions of Michael Janek. When it comes to portraying, because another of
[28:00] those moral, social and political fables that Mr Henrick and Germany Austria have accustomed
[28:07] us to, we are going to Mexico with two directors who have tasted the
[28:14] thousands of black and white. Arturo Rifstein to this disciple directly ahead of Don
[28:22] Luis Buñuel is going to shoot in black and white, as for example,
[28:26] in the film of the year two thousand The Doom of Men, or in
[28:32] the film of the year two thousand fifteen The Street of Bitterness. His directors
[28:37] of photography, two usual of cinema, Riffstein, Alejandro Cantú in the case
[28:42] of the street of bitterness, and Esteban de Yaka in the case of the
[28:48] perdition of men, And also Mexican is Don Alfonso Cuarón and his film Rob
[28:53] film of the year two thousand eighteen and autobiographical dyes that represented one of the
[29:02] innumerable already oscars with which the Mexican director counts. Best film to speak English,
[29:10] best director and best photograph of a certain Alfonso quarl Some day we will
[29:18] count the Oscars with which the good of dol Alfonso counts and our collaborator appears
[29:23] unintentionally in the shadow, Don Juan Sol for which there is a film that
[29:29] would be on the list of the first six of which we have spoken as
[29:33] the best black and white films of the modern era. It happens that for
[29:40] server would not be on that list. In fact, Sindler' s list
[29:44] of gifts is not. Steven Spielberg year nine hundred and ninety- three,
[29:49] Good servant, recognizes the undeniable quality of his black and white photography. A
[29:56] black- and- white photograph of the great Great Janus, one of the
[30:04] best photography directors in film history, a Pole who has become more than just
[30:10] a collaborator of Mr Philberg. He has become his official director of photography,
[30:18] a gentleman who has long been a sonnet in Hollywood, settled down in the
[30:25] Mecca of cinema and who made his debut with Steven Spielberg. On this list
[30:30] of demo films he at least credited the photograph of this film. And to
[30:37] finish today' s show of what came film dedicated to black and white films
[30:42] in the modern era, there are going to come a few films to feed
[30:48] them apart. The first of them is a two in one attention. One
[30:55] moment Noland of the program is worth the redundancy memento and folloween of Mr Nolan,
[31:03] so in favour of playing with forms, with cinematographic techniques. Not another
[31:08] thing, but Nolan doesn' t just shoot the minutes a movie story lasts.
[31:17] Mr Nolan takes advantage of the possibilities offered by the seventh technical art and
[31:25] possibilities, by the way, already existing and that no one has invented either,
[31:32] as he does in an event and on Following in his opera prima followin
[31:37] already uses black and white, a film by the way, in which he
[31:42] already begins to play director of photography of the same film, shot still in
[31:48] his native land in England, a Christopher Nolan, like Juan Palomo, He
[31:55] used it, he wrote it to him, he photographed it and he directed
[32:00] it. And in his next film and already established in the United States,
[32:08] Memento partially repeats black and white photography, also playing with the possibilities that photography
[32:15] in one or other colors could offer or use them also to integrate them into
[32:22] how to tell the story for the moment. Don Christopher Nolan, we already
[32:31] say it is a restless ass when it comes to directing your films. We
[32:37] imagined him very little, in fact, sitting in his chair as director,
[32:43] by the way, of photography of it, it was no longer Mr Noland,
[32:47] it was Wally Fister. And who is Don Wally Fibster, as Mr
[32:53] Nolan' s usual director of photography until Openheimer. It seems that the next
[33:01] film from the modern era of black and white has already been taken, in
[33:08] the cinema be Goten by director Elias Merige, year one thousand nine hundred and
[33:15] ninety- one. If we say that they are films to eat apart,
[33:21] this Begoten a Fe has her table set aside with a menu of the most
[33:28] differentiated, not suitable for all stomachs. Experiential, surreal, fantastic cult film,
[33:37] made of those with four hard ones or four pennies, movies that you
[33:45] hate or love. The film, which we clearly claim and above all,
[33:52] we recommend in today' s show, which is the best film of which
[33:59] it does not tell anything, simply because it is quite difficult to find something
[34:05] about life. It is easy for us to tell who its director is,
[34:09] this photografi, the director of the film Elias March Otherwise, we can only
[34:16] say one thing. You have to go see it next movie, another cult
[34:22] movie pik Fe in the chaos in a thousand nine hundred and ninety- eight
[34:29] and directed by Darren Aronovski. Yes, we can already say the Darren Aroknovsky
[34:35] of all life was not his prima opera, but as if it seemed,
[34:38] the same gave him the stardom in reduced circle one of those films that Charles
[34:45] costs, the glove of which it costs to understand and to which we have
[34:52] not yet caught them. The director of photography of a very good black and
[34:59] white, Matthew li Battic, the usual director of photography of Don Darren Aronovski
[35:05] and the last of pralley Cooper Maestro and Don Jin Yarmuch. It would seem
[35:13] another one of those directors who only knows how to roar in white has also
[35:19] shot in color, but in its beginnings there were perman in Vacation, dun
[35:23] Bylow, strangers in paradise and curious Deadman. His directors of photography. Don
[35:30] di Chillo, the later American independent film director, directed the photograph of permanent
[35:37] vacation and strangers in paradise, and Robe Muller, the director of photography of
[35:43] Bin Benders' films, did so with the photograph of dun Bylow and Deathman.
[35:50] No avan Bach directed the French film has with his partner Greta Gerwith year
[35:55] two thousand twelve, photography director Sun Levy a regular of American independent cinema and
[36:04] ineffable. Also Robert Eggers, directed the lighthouse year two thousand nineteen with the
[36:10] photograph of his usual Jarin Blaske. But we want to finish the programme and
[36:17] Jovin do cine with a Spanish film of the year nineteen hundred and seventy-
[36:22] six, the disenchanted Jaime chavarr Felicidad Blank The Panero brothers and the photography of
[36:32] the great great theeos Camilla, one of the films of the life of server.
[37:06] And so far there has come one more show of your favorite podcast,
[37:09] me watching movies in which we have reviewed all those movies worth mentioning, shot
[37:15] in black and white. Outside the classical era, in the modern era,
[37:21] in the contemporary era, we have put that dividing line between one and the
[37:27] other. In the 1970s we stopped in those great films directed by great directors
[37:34] who chose black and white for the same ones and also those other films,
[37:40] some of us have already seen to eat apart that they denied at least partially
[37:46] the color to tell all those stories and we already say surely that we will
[37:53] have left some in the inkling truth Don Broadway, Danny row de body Allend
[38:00] of the year eighty- four, you will already forgive our involuntarys or vib
[38:07] hoping that he, bat has been of your total pleasure. We do not
[38:10] fire you until next week, in which we will talk to you or last
[38:14] a subject that, as always, will occur to us in the coming days.
[38:16] Until then we can only thank you very much for your attention, much
[38:22] more your patience and make the final culinary recommendation of all those listening to cinema
[38:29] eat a lot of banana, which is very healthy, especially if it has
[38:34] black spots in the shell and especially when you look at the sky, you
[38:37] know what you have to do. Find your cloud. We all have one
[38:40] and when you have entered into trust and conversation with her, you have to
[38:45] tell her very loud and clear, that which rains cinema par ten

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