Carlos Saura (Huesca, 1932) has presented at the San Sebastián Film Festival his short film ‘Rosa Rosae’, one of his projects on the margins of his filmography herself as director who uses José Antonio Laborda’s homonymous song for, a
from drawings and manipulated photographs, remember the mark that left the contest to the generation that lived it during its childhood.

“It’s an unforgettable experience for a child, a tremendous thing: see the dead, the broken crystals, my brother crying, suddenly a bomb explodes …”, he has recalled in Zinemaldia the filmmaker.
“When you live as a child, you have that innocence that you do not know where it comes from, nor why or anything.”
Even so, “for a child is a show, it is terrible, because everything can happen.”

It has not been a preponderant issue in his work (with remarkable exceptions, as ‘Oh, Carmela!’), Although he recognizes, “The memory of the war is present in many, many of mine and could be in more.”
For example: “I had a script that is called ‘that light!’, I had to write in the form of a novel and was published in Italy, in Germany, Spain. Because nobody wanted to make that movie. It is a material that is still almost almost
Unpublished in my case, and I could still write a movie about that. ”

The short thing has been produced by his daughter Anna, who points out his father was carried by “a creative process” instead of for a marked goal.
“It’s coming back, we never did it with the idea that the theme of historical memory is now present”.
He corroborates it: “I have 30 or 40 small movies that I’m doing when I get bored, with my drawings or with music. The Labedeta Song was for me a wonder as a pretext to make a little short. But it has been she [point
A Anna] The one who has moved it. ”

Saura has been reiterated in her pessimism about the spirit ‘guaracivilist’ that crawls in Spain for a long time.
“Unfortunately, I still think that civil war is not such a distant possibility. If things are still like that …” He has reflected in a meeting with the press.
“There is a confrontation and an absurd violence that is being exacerbated, it is supposed to never come to that.”
Although then, he has been nuanced: “That they shoot you … I would be very far from being a similar thing. But there is a ferment of violence that I think should be avoided.”

In any case, he follows his own, embarked on projects (the premiere of another of his musicals, ‘the king of the whole world’, or a series about Federico García Lorca).
And, of course, making photographs, painting and writing.
But he has clear the predilection of him: “making a movie is an adventure. Even this short is an adventure. Of everything I do, it is the set of everything I like the most.”
Even so, it is not very ‘reviewed’: “The only legacy that I have left are my children,” he has sentenced.