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With Sara Baras, Manolo Sanlúcar, Antonio Canales, Aída Gómez, Enrique Morente, Estrella Morente, Rosa Torres-Pardo, José Antonio, Chano Domínguez, Jorge Pardo, Gerardo Nuñez, Patrick De Bana, Miguel Angel Berna
Carlos Saura’s musical masterpiece is an aesthetic tour de force in which camerawork, scenography, dancers, and musicians are choreographed to reach a delightful balance in which Flamenco, classical music, ballet, and contemporary dance are combined to create a moving painting. By working with the greatest talents in Spanish dance and music and fusing their work, Saura not only draws out the best in each but also takes them to new levels.
Inspired by the work of Spanish composer Isaac Albéniz, Iberia is an authentic musical film in which the plot is contained in the music, and the performers are the musicians and dancers that tell the story.
Iberia is a recreation and reinvention of musical pieces, with the leading roles performed by Sara Baras, Antonio Canales, José Antonio Ruiz, Aida Gómez, and Patrick De Bana. Musicians in the film include the world-renowned guitarists Manolo Sanlúcar, Gerardo Núñez, and José Antonio Rodríguez; pianist Rosa Torres Pardo; and flamenco-jazz stars Chano Domínguez and Jorge Pardo. The film also stars the best cantaor alive, Enrique Morente, and his extraordinary daughter Estrella Morente.
“Anyone who has had the privilege of watching Saura's Iberia (2005) understands that this gifted filmmaker has found a way to harness the tricks contained in his cinematic toolbox in service of capturing and enhancing the dance vocabulary and musical soul of Spanish culture.” – George Heymont , HUFFPOST ARTS & CULTURE
Once again I face the magical combination between music and the camera which fascinates me so much and which reaches its zenith in the musical. Although it is true that this cinematographic form may adopt many other forms, the one I prefer, as I consider it represents its purest form (with all my respect to any other approximation) is that which is not overcome by any artificial narrative reasoning. This experience I could fortunately develop in Sevillanas, Flamenco, and recently Salomé, allows me a degree of freedom in the approach of the images and the staging, which cannot be enjoyed when facing a play with a storyline.