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Miguel Picazo is a Actor, Director and Scriptwriter Espagnol born on 27 march 1927 at Cazorla (Espagne)

Miguel Picazo

Miguel Picazo
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Nationality Espagne
Birth 27 march 1927 at Cazorla (Espagne)
Death 23 april 2016 (at 89 years)

Miguel Picazo (born 27 March 1927) is a Spanish film director, screen writer and actor. He is best known for his first feature film La Tía Tula (Aunt Tula) (1964).

Biography

Picazo étudie à l'IIEC de Madrid avant de réaliser, en 1964 son premier et meilleur film : La tía Tula, transposition du roman de Miguel de Unamuno dans l'Espagne franquiste des années 1960, grand film moderne sur le deuil, la répression sexuelle et l'obscurantisme. Picazo et son chef-d'oeuvre reçoivent les prix de meilleur réalisateur et meilleur film espagnol du festival de Saint-Sébastien puis du Círculo de Escritores Cinematográficos, et Luis Buñuel parle du « meilleur film espagnol qu'il ait jamais vu ». Picazo, décrit par El País comme un réalisateur « passionné et savant, spontané et tranquille », est avec Carlos Saura, José Luis Borau et Mario Camus un représentant emblématique du Nouveau Cinéma Espagnol. La censure franquiste l'empêche de mener à bien plusieurs projets.

Il apparaît dans de petits rôles dans L'Esprit de la ruche de Víctor Erice en 1973 et Tesis d'Alejandro Amenábar en 1996, et reçoit le Goya d'honneur en 1997, des mains de son professeur Luis García Berlanga et de son interprète Aurora Bautista.

Usually with

Source : Wikidata

Filmography of Miguel Picazo (3 films)

Display filmography as list

Actor

Thesis
Thesis (1996)
, 2h5
Directed by Alejandro Amenábar
Origin Espagne
Genres Thriller, Horror
Themes Films about films, Medical-themed films, Psychologie, Snuff films in fiction, Films about television, Films about psychiatry
Actors Fele Martínez, Eduardo Noriega, Ana Torrent, Xabier Elorriaga, Miguel Picazo, José Luis Cuerda
Roles Figueroa
Rating74% 3.73.73.73.73.7
The film starts as Angela sits on a subway. The train halts and passengers are told to evacuate, as a man has just stepped in front of the tracks and died. While being led out of the station, Angela begins to move towards the tracks to see the man's remains. She is warded away at the last instant. Angela is a university student in Madrid, writing a thesis on audiovisual violence in the family. At a thesis meeting, she asks her thesis director, Figueroa, to help her find the most violent videos in the school's library. After class, Angela seeks out the help of a fellow student, Chema, who is known for his collection of violent and pornographic videos. As Angela begins to watch violent films with Chema, Professor Figueroa finds a tape in a hidden hallway of the school's audiovisual archives. The next day, Angela finds Figueroa dead of apparent heart failure in the university's viewing room, a video tape in the player. Angela takes the tape and leaves for class. She later learns that Figueroa died of an asthma attack, and that a younger professor, Castro, will now be directing her thesis project. Angela goes to Chema's house to watch the stolen film, and Chema realizes that this is a snuff film, or a film of someone actually being murdered. As they watch the women being tortured, killed and disemboweled, Chema realizes that the women in the film was named Vanessa, a girl who attended their university and went missing two years ago. Chema and Angela are also able to determine which kind of camera the killer used, and XT 500, based on the quality of its digital zoom, and that the film was shot in someone's garage.
The Spirit of the Beehive, 1h37
Directed by Victor Erice
Origin Espagne
Genres Drama, Comedy-drama, Fantasy
Themes Films about children, Frankenstein films, Political films
Actors Fernando Fernán Gómez, Ana Torrent, Teresa Gimpera Flaquer, Laly Soldevila, Miguel Picazo
Roles Médico
Rating77% 3.897633.897633.897633.897633.89763
Six-year-old Ana is a shy girl who lives in the manor house in an isolated Spanish village on the Castilian plateau with her parents Fernando and Teresa and her older sister, Isabel. The year is 1940, and the civil war has just ended with the Francoist victory over the Republican forces. Her aging father spends most of his time absorbed in tending to and writing about his beehives; her much younger mother is caught up in daydreams about a distant lover, to whom she writes letters. The entire family is only ever seen together in a single shot towards the end of the movie, there is no discussion. Ana's closest companion is Isabel, who loves her but cannot resist playing on her little sister's gullibility. Teresa writes to her past lover while she seems to stare out the window at the old house where Ana will find the republican soldier: "Little but the walls remain of the house you once knew, I often wonder what became of everything we had there." This supposes the house has a history for her, and implies the escaped republican soldier who will run straight to this now empty and crumbling house and hide in it may have been her lover.

Director

Aunt Tula
Aunt Tula (1964)
, 1h49
Directed by Miguel Picazo
Origin Espagne
Genres Drama
Actors Aurora Bautista, Laly Soldevila
Rating73% 3.672333.672333.672333.672333.67233
Tula, a thirty one year old unmarried woman, whose sister has just died, decides to bring her brother in law, a bank employee and his two children into her home. As she takes over the management of their lives, she gradually usurps the privileges of her brother in law, and his children. She acts as a wife mother figure, but does not accept the sexual commitments or maternal responsibilities of her new role.

Scriptwriter

Aunt Tula
Aunt Tula (1964)
, 1h49
Directed by Miguel Picazo
Origin Espagne
Genres Drama
Actors Aurora Bautista, Laly Soldevila
Rating73% 3.672333.672333.672333.672333.67233
Tula, a thirty one year old unmarried woman, whose sister has just died, decides to bring her brother in law, a bank employee and his two children into her home. As she takes over the management of their lives, she gradually usurps the privileges of her brother in law, and his children. She acts as a wife mother figure, but does not accept the sexual commitments or maternal responsibilities of her new role.