圣力三重奏 (1977)

绍拉60年代的“超现实主义三部曲”的第二部，《薄荷糖》（1967）、《圣力三重奏》（1968）和《蜂巢》（1969）。三部影片都是由杰拉丁-卓别林主演的，是他们俩合作的黄金时期。

A married couple and a male friend leave together on a weekend vacation. Stress is brought on by the husband's jealousies. He hopes to play out his fantasies with his friend and wife in order to justify revenge. Geraldine Chaplin, Juan Luis Galiardo, and Fernando Cebrian star in this odd tryst that is heavy on insects and the voyeuristic machinations of the husband's mind.

As its title suggests, this is a deeply weird Pinter-esque emotional triangle - involving an insanely jealous husband, his gorgeous young wife and his carefree business partner. They spend much of the film in a car, driving through the arid Spanish landscape on their way to a deserted beach. Loyalties shift, identities blur... By the end, it is frankly impossible to say who has (or has not) done what to whom.

To make it doubly strange, Carlos Saura has shot this film in the most starkly realistic of styles. Its Spartan visuals, minimal music and sober black-and-white camerawork make us feel we are watching a documentary. This makes the ambiguity of the action even more bizarre and disturbing. When the husband sees (or imagines he sees) his partner making love to his wife, we are not watching a standard movie 'dream sequence.' We are witnessing madness itself. True madness, convinced that what it sees is reality!

Pushing this film still further into realms of delirium, Saura's subtle but chilling use of homoerotic, even sadomasochistic, imagery...

绍拉60年代的“超现实主义三部曲”的第二部，《薄荷糖》（1967）、《圣力三重奏》（1968）和《蜂巢》（1969）。三部影片都是由杰拉丁-卓别林主演的，是他们俩合作的黄金时期。

A married couple and a male friend leave together on a weekend vacation. Stress is brought on by the husband's jealousies. He hopes to play out his fantasies with his friend and wife in order to justify revenge. Geraldine Chaplin, Juan Luis Galiardo, and Fernando Cebrian star in this odd tryst that is heavy on insects and the voyeuristic machinations of the husband's mind.

As its title suggests, this is a deeply weird Pinter-esque emotional triangle - involving an insanely jealous husband, his gorgeous young wife and his carefree business partner. They spend much of the film in a car, driving through the arid Spanish landscape on their way to a deserted beach. Loyalties shift, identities blur... By the end, it is frankly impossible to say who has (or has not) done what to whom.

To make it doubly strange, Carlos Saura has shot this film in the most starkly realistic of styles. Its Spartan visuals, minimal music and sober black-and-white camerawork make us feel we are watching a documentary. This makes the ambiguity of the action even more bizarre and disturbing. When the husband sees (or imagines he sees) his partner making love to his wife, we are not watching a standard movie 'dream sequence.' We are witnessing madness itself. True madness, convinced that what it sees is reality!

Pushing this film still further into realms of delirium, Saura's subtle but chilling use of homoerotic, even sadomasochistic, imagery makes you wonder just WHO the husband is most possessive of. His wife or the other man? A langorous scene where he watches the younger man swimming. A fetishistic interlude with black leather and a motorbike. (Has Saura seen Kenneth Anger's Scorpio Rising?) Recurring visions of Saint Sebastian - the classic homoerotic saint, naked and pierced full of arrows. Strong stuff indeed for Spanish cinema under Franco.