Director and writer of Spanish Cinema born November 9, 1926 in Barcelona. His full name is Vicente Aranda Ezquerra.
After the end of the Spanish Civil War, Aranda did not continue with their studies and faced all kinds of jobs for several years. In the same vein continued during his long stay in Caracas (Venezuela), country that marched with the desire to thrive in life next to his brother. At the end of the 1950s he returned to Barcelona, where he came into contact with young intellectuals who lived immersed in the literary and artistic creation of the time as Ricardo Bofill, Juan MarsÃ©, RomÃ¡n Gubern, Luis Goytisolo, JoaquÃn JordÃ¡, etc.
He wanted to enter the Research Institute and cinemati
c experiences, the film school existing in Madrid, but the lack of secondary education not allowed access. This circumstance did not prevent him co-direct with Gubern his first film, bright future (1964), in which both sought to capture your creative questions regardless of the problems that could arise some decisions. His second film, Fata morgana (1966) pretended to be innovative not only delve into the fascinating world of advertising, taking advantage of a popular face as Teresa Gimpera, but also contain a strange narrative structure for the viewer of the time. Perhaps that is the reason why it was considered as one of the leaders of the school of Barcelona, within the framework of the new Spanish cinema that occurred in the 1960s.
Problems of unequal size forced him to found his own production company, Morgana Films, which sought to make their way in the difficult Spanish film network’s seventies. However, Aranda focused on a type of cinema that would turn him into a peculiar director, with a perso
nal universe leaning by gruesome topics, in which many of his characters self-destruct because of obsessions, perversions and customs pervading concern their world, beyond the greater or lesser influence literary to have.
Aranda always swam against the tide, and that gave good sample group of censors who always left their mark on many of his scripts. Change of sex (1976) meant the encounter with the actress Victoria Abril, which would subsequently work on numerous occasions; the story was one of the issues that arose in the international daily newspapers, and that somehow Aranda believed necessary to raise from the entertainment industry, with all its harshness, regardless of the end result more or less happy. After this film followed adaptations of Juan MarsÃ© (gold panties girl, 1979; If they say you fell, 1989; The bilingual lover, 1993), Manuel VÃ¡zquez MontalbÃ¡n (murder in the Cent
ral Committee, 1982), Andreu MartÃn, Luis MartÃn Santos or JesÃºs FernÃ¡ndez Santos (interesting series for TVE “Riders of the dawn”, 1990).
It should be mentioned, especially, the work with the actors Imanol Arias and Victoria Abril in time of silence (1986), and two deliveries on The Lute; the combination between Victoria Abril and Jorge Sanz in if say you that I fell, the riders of the alba and, especially, lovers (1991), film built on the tragedy of three characters who not only becomes one of their big blockbusters, but it also provided him with numerous awards including the Goya Award for Best Director and film, and the silver in Berlin for Victoria Abril bear.
Spanish social history, the universe of turbulent, dissatisfied, complex characters and controversial feeli
ngs, are issues that continue to arrive to the cinematic world of Aranda throughout the 1990s (libertarian, 1996;) The gaze of the other, 1998; Jealousy, 1999), always faced with prisms dominated by the status of women, primarily, where is confused often eroticism with exhibitionism. His cinema expressly adheres to a world of personal obsessions that all interested to a vast majority of viewers.
Began the new century with a very personal vision of Juana the mad (2001), interesting work that surprised in every way and allowed the young actress Pilar LÃ³pez de Ayala achieved unusual popularity (corroborated with the Concha de plata at the Festival of San SebastiÃ¡n and the Goya for best actress). The following year, with Paz Vega as the protagonist, he wrote a new version of Carmen.
Aranda received the national film award in 1988.
[Vicente Aranda took part in the screenplay for almost all of his films] 1964: bright future (Co-Director). 1965:
Fata morgana. 1969: The cruel / the exquisite corpse. 1972: Bloody bride (and producer). 1974: Clara is the price (and co-producer). 1976: change of sex (and co-producer). 1979: Gold (and co-producer) panties girl. 1982: murder in the Central Committee (and co-producer). 1984: Fanny Pelopaja (and co-producer). 1985: the crime of Captain SÃ¡nchez (for Television). 1986: time of silence (and co-producer). 1987: El Lute, walks or burst. 1988: El Lute tomorrow I’ll be free. 1989: If say you that I fell. 1990: The riders of the dawn (TV series). 1991: lovers. 1993: The bilingual lover; The intruder. 1994: The Turkish passion. 1995: LumiÃ¨re et compagnie. 1996: Libertarian. 1998: The gaze of the other. 1999: Jealousy. 2001: Juana the mad. 2002: Carmen.
Alvarez, r. and cold, B. Vicente Aranda. Victoria Abril. The cinema as a passion. Valladolid, 36 international film week, 1991.
RUFFLE, E. Vicente Aranda. Madrid, Chair, 1996.
GUARNER, J. L. a
nd Kiss, P. The disturbing film of Vicente Aranda. Madrid, IMAGFIC, 1985.
VERA, Fr. Vicente Aranda. Madrid, Ediciones JC, 1989.