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Antoni Padros is a singular figure of Catalan Cinema. Coming from painting, his creative freedom practiced during Franco's regime placed him on the margins of cinema. His films tie in with the American underground and European militant cinemas. The author, however, did not abandon his sniper and transgressive position once democracy was established, maintaining his independent creative proposal. From the margins of the film industry, his work has taken on a progressive role and today is recognized by museums, due to its creative ability through dialogue with the Arts. This edition aims to contribute to the discovery and recovery of the unclassifiable, experimental and vital work of Antoni Padros. Includes the films: Alice has discovered the Napalm Bomb; Dafnis y Cloe; Pim, pam, pum, revolucion; Ice Cream; ?Que hay para cenar querida?; Els Porcs; Swedenborg; Lock-out; Shirley Temple Story; Free; Ombres de foc; Ascensio, caiguda i repos de Maria von Herzig; L'home precis.

4 x DVD | PAL 4:3 | 548 min + 49 min extras | 24.7 Gb + 3% rec
Language: Espanol, Catalan, English
Subtitles: English, Espanol
Genre: Drama, Musical, Short, Experimental

Antoni Padros, bank clerk in the morning and a filmmaker by night, is undoubtedly a key figure in the Spanish avant-garde. Coming from the pop art painting and self-training as a filmmaker - except for a brief apprenticeship in a private school Aixela film, Padros makes his film in a completely marginal form, without any protection, often with rotating expired material, and without no second takes. After a first experiment in 8mm, Alice has Discovered the Napalm Bomb (1968), he began working regularly in 16mm, using expired film. Dafni and Cloe (1969) and Pim Pam, Pum, Revolution (1970) marked the birth of an artist poetic, abstract and without limits. Lock Out (1973) represents his first feature film shot with no sound, Orly to be followed by Shirley Tempe Story (1976), a 226 minutes of footage edited in one night. Padros' work has been consistent, and free of dogma and fashion. An artist fascinated by the movies, Padros hates anything that reflects the everyday mimetic, everything that brings us to easily palpable realities through explicit illustrations. Hence his images are presented as a film quest for other worlds, other realities that are targeted by the suggestion of the allusion, told with elliptical language. However, this search, this whole way of film research, is well-anchored as it confesses in the socio-political and cultural life of Spain.

Extras:
- Free (1966)
- Ombres de foc (1984)
- Interview

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