José Domínguez Muñoz (El Cabrero)
as Él mismo
The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890.
The documentary is a summary of Paco de Lucía's career, his art, his human category and his life, from his first artistic steps to his last professional steps, which have been marked by flamenco. Numerous testimonies and interviews carried out between 2010 and 2014 are exposed.
In the 1960s, a young Spanish flamenco dancer named Antonia Singla captivated audiences with her strikingly passionate performances. Having lost her hearing at a young age, La Singla rose to fame with her commanding presence through a combination of her powerful gaze and thunderous movement. However, just at the height of her fame, she seemingly disappeared and decades later has been all but forgotten. When a young woman in Seville comes across La Singla’s story, a bigger picture starts to be unveiled. Through research, interviews and captivating archival footage, she starts to piece together the legend of La Singla. Through the beauty of her performances and the heartbreak of her story, La Singla celebrates and preserves the legacy of one of the greatest Flamenco dancers of all time.
A musical, and also a reflection on watching, on trying to escape an anthropocentric gaze and also on watching itself in cinema. Featuring mares and horses: Triana, Víctor K, Bambi Sailor, San Special Solano, Buck Red Skin, Onkaia, Cool Boy, the donkey Agostino, the mule Guapa. And also Alfredo Lagos, Raül Refree, María Marín, Pepe Habichuela, Virgina García del Pino, María García Ruiz, Pilar Monsell, María Pérez Sanz.
A young drag queen from Andalusia exposes the difficulties of adding aspects of her homeland culture to her artistic expression.
The film presents thirteen rhythms of flamenco, each with song, guitar, and dance: the up-tempo bularías, a brooding farruca, an anguished martinete, and a satiric fandango de huelva. There are tangos, a taranta, alegrías, siguiriyas, soleás, a guajira of patrician women, a petenera about a sentence to death, villancicos, and a final rumba.
Enrique Morente's three sons tell the story of their father: the most revolutionary flamenco in history. Despite criticism from purists, he opened cante jondo to cultured poetry, brought it closer to young university students, explored its Arab roots and paired it with rock and other contemporary sounds. Much of the Spanish music of the last decades is heir to his findings.
In his time of greatest splendor, the singer Miguel 'Bambino' Vargas Jiménez (1940-99) was the last frontier of flamenco, an immense musical genre that he developed and brought closer to large audiences: an artist of artists, the idol of the roadside bars, whose inimitable style, scenic magnetism and heartbreaking personality made of his figure a myth, a king without a kingdom, a giant of the popular music of the 20th century.
Throughout the streets of Huelva, a man with his guitar has been disambiguating for years, day and night he goes out into the streets to make a living asking for money in bars and terraces. His guitar almost never has the six strings, his hands are dirty, his mind long ago could not stand the life that he had to live, and he continues as he can stuck to that guitar with which he expresses himself continuously, indefatigable. That vagabond, an omnipresent street artist, is the "Niño Miguel", considered by many to be the best guitarist in the history of flamenco, a genius who revolutionized the guitar with only two records in the 70s, a source of inspiration for all other guitarists... a guitarist of guitarists, a living legend, a mystery, a misunderstood genius, excluded from society: The shadow of the strings.
A look at the history and traditions of flamenco music and dance.
A thoughtful exploration of gypsy culture, an intimate portrait of flamenco guitar player Yerai Cortés and a healing family exorcism through music. Antón Álvarez (aka C. Tangana) makes his filmmaking debut with this documentary.
Moving Together is a celebratory love letter to music and dance that brims with kinetic life and energy. This documentary explores the intricate collaboration between dancers and musicians, moving seamlessly between Flamenco, Modern, and New Orleans Second Line.
"Nueve Sevillas" is a heterodox psycho-geographical profile of the new flamenco in Seville. Nine characters coexist with the great flamenco artists of today.
Documentary portrait of José Domínguez Muñoz, better known as "El Cabrero" (French for "the goatherd"), Spanish libertarian flamenco singer born in Aznalcóllar, province of Seville, in 1944 and filmed over two weeks in 1988 in Seville, Aznalcóllar, La Carbonería de Sevilla and Marinaleda, and in concert at a recital in Bayonne. Politically committed, El Cabrero defines himself as a libertarian. Since the 1970s, he has been close to the anarchist movement. For many years, he was a member of the anarcho-syndicalist Confédération Nationale du Travail.
In this Oscar Winning documentary short film, students in their final year at the National Ballet School of Canada are seen learning the flamenco from Susana and Antonio Robledo, who come to the school every winter to conduct classes which are held after the day's regular schedule has ended.
