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      • Fados explores its past in Lisbon and the cultural heritage that surrounds the music. But this isn’t a History Channel-style documentary—Saura treats us to the form’s legacy through song, dance and recreation in what ultimately amounts to a series of music videos.
      www.pastemagazine.com/movies/carlos-saura/fados
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  2. Mar 6, 2009 · Much as he did in his 1990s documentaries “Sevillanas” and “Flamenco,” this veteran Spanish director has, in his latest, created both a tribute to an art form and a performance archive.

    • Carlos Saura
  3. en.wikipedia.org › wiki › Fados_(film)Fados (film) - Wikipedia

    Under the musical supervision of Carlos do Carmo, Fados completed Saura's musical trilogy form with Flamenco (1995) and Tango (1998). Saura deploys mirrors, back projections, lighting effects, and lush colors to frame each song.

  4. www.pastemagazine.com › movies › carlos-sauraFados - Paste Magazine

    Apr 2, 2009 · In Carlos Saura’s eighth film about music, he tackles the obscure and archaic Fado, a form of song that remains in its purest form just two guitarists and a singer. Fados explores its past...

  5. Mar 23, 2008 · Oscar nominated Spanish director Carlos Saura has made a musical documentary on the subject of Portuguese Fado. From what I have read, this is Saura’s interpretation of Fado and includes many of famous fadistas including Amalia and Mariza as well as many more.

  6. Mar 4, 2009 · Fados,” which takes its title from a tradition of emotive, melancholy singing derived in the poor port-side areas of early nineteenth-century Lisbon (but with African and Brazilian origins), and...

    • Michael Koresky
  7. In wishing to present the story of fado’s origins, Saura in fact created new fusions by staging a series of encounters between fado and the contemporary performance of other Lusophone and Hispanic musics.

  8. May 20, 2017 · With Lisbon as a backdrop, the film explored the complicit dialogue between music and the city, tracing the evolution of Fado from Afro-Brazilian origins to today's new generations. Carlos Saura called him FADOS because he understood that, unlike his Spanish and Argentine counterparts, the Portuguese genre contained multiple identities.

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