“The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)”
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Over the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.
Bentley , B P E 2012 , ' “The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)” ' , Studies in European Cinema , vol. 9 , no. 1 , pp. 7-22 . https://doi.org/10.1386/seci.9.1.7_1
Studies in European Cinema
© 2012 Intellect Ltd. This is an author version of this work which may vary slightly from the published version. To see the final definitive version of this paper please visit the publisher’s website.
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