| Irene Papas | ... | Grandmother Amadis | |
| Claudia Ohana | ... | Erendira | |
| Michael Lonsdale | ... | Senator Onésimo Sanchez | |
| Oliver Wehe | ... | Ulysses | |
| Rufus | ... | Photographer | |
| Blanca Guerra | ... | Ulysses' mother | |
| Ernesto Gómez Cruz | ... | Grocer | |
| Pierre Vaneck | ... | Ulysses' father | |
| Carlos Cardán | ... | Smuggler | |
| Humberto Elizondo | ... | Blacaman | |
| Jorge Fegán | ... | Army commander | |
| Francisco Mauri | ... | Postman | |
| Sergio Calderón | ... | Truck driver | |
| Martín Palomares | ... | Escort | |
| Salvador Garcini | ... | Puppet-player | |
| Félix Bussio Madrigal | ... | Bridegroom | |
| Juan Antonio Ortiz Torres | ... | Musician | |
| Carlos Calderón | ... | Missionary | |
| René Barrera | ... | Indian chief | |
| Leonor Llausás | ... | Prostitute | |
| Maristell Abrossi | ... | Prostitute | |
| Lázara Delgado | ... | Prostitute | |
| Lali Rofftel | ... | Nun | |
| Natalie Eckelkamp | ... | Nun | |
| Rodolfo Carrillo | ... | Soldier | |
| Fernando García Ortega | ... | Soldier | |
| Gaspar Humberto Mena Escobar | ... | Warden | |
| Eduardo Danel | ... | Smuggler's driver | |
| Tomás Delgado Leal | ... | Postman | |
| Delia Casanova | ... | Narrator (voice) |
Dirigida por | |||
| Ruy Guerra | |||
Créditos del guión(en orden alfabético) | ||
| Gabriel García Márquez | novel | |
| Gabriel García Márquez | screenplay | |
Producida por | |||
| Hanns Eckelkamp | .... | co-producer | |
| Gonzalo Martínez | .... | executive producer | |
| Alain Quefféléan | .... | producer | |
| Othon Roffiel | .... | executive producer | |
| Regina Ziegler | .... | producer | |
Música original por | |||
| Maurice Lecoeur | |||
Fotografía por | |||
| Denys Clerval | |||
Montaje por | |||
| Kenout Peltier | |||
Dirección artística | |||
| Pierre Cadiou | |||
Diseño de vestuario por | |||
| Alberto Negrón | |||
Departamento de maquillaje | |||
| Araceli Aramburo | .... | hair stylist (as Araceli Aramburu) | |
| Patrick Archambault | .... | hair stylist | |
| Monique Granier | .... | makeup artist | |
| Graciela Muñoz | .... | makeup artist | |
Dirección de producción | |||
| Eduardo Danel | .... | production manager | |
| Ginette Mejinsky | .... | unit manager | |
| Louis Trinquier | .... | administrative manager | |
Ayudante de dirección | |||
| Víctor Anteo | .... | second unit director | |
| Natalie Eckelkamp | .... | assistant director | |
| Román Hernández | .... | assistant director | |
| Félix Martín | .... | assistant director | |
Departamento de sonido | |||
| Roberto Martínez | .... | sound assistant | |
| Claude Villand | .... | sound | |
Efectos especiales | |||
| Carlos Belaunzaran | .... | special effects | |
| Sergio Jara | .... | special effects | |
| Rubens Rodriguez | .... | special effects | |
Visual Effects | |||
| Frederic Moreau | .... | optical effects | |
Cámara y Departamento Eléctrico | |||
| Agustín Meza | .... | assistant camera | |
| Roberto Rivera | .... | camera operator | |
| Jorge Sengal | .... | photographer: second unit | |
Departamento de Edición | |||
| Jeanne Kef | .... | assistant editor | |
Departamento de Música | |||
| Guy Printemps | .... | orchestrator | |
Otros miembros del equipo | |||
| Rudi Lagemann | .... | production assistant | |
| Patricia Luke | .... | continuity | |
| Marguerite Théoule | .... | production secretary | |
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Eréndira is a dark fairy tale covered in the blanket of magic realism that has become Gabriel García Márquez's trademark. Director Ruy Guerra has devoted a lot of attention to upholding the surrealistic undertones of the novel. The story itself unfolds like a bizarre daydream that follows a 14 year old Eréndira as she is plagued by the "wind of her misfortune." It is the wind that causes Eréndira to burn down her grandmother's lavish villa. Upon seeing the ruin and ashes the Grandmother informs Eréndira that "it would take a lifetime to back the debt you owe me." And so begins the young girl's life of prostitution. In order to earn back her money, the Grandmother sells Eréndira to countless men, day and night. It is only when Eréndira meets angelic Ulysses that her tortured life seemingly begins to change. Perhaps the most brilliant aspect of this movie is the role of the Grandmother, played by Irene Papas. She is carried around on a throne-like chair, wears grotesquely gaudy dresses and devours cake by the handful; all while dispensing cryptic advice to Eréndira. The power that the Grandmother has over the life of Eréndira is shocking yet morbidly interesting, as is she. This strong presence is the reason that her character commands the most attention in the film. Her greed and apparent indestructibleness is quite possibly representative of the many corrupt and powerful organizations and politicians that are present in Latin America and throughout the world.
Eréndira is a compelling movie to say the least. It is funny yet eerie, intriguing yet grotesque, and I thought it was amazing. Everything from the sound effects to the costumes work together to create the web of magic realism that dominates the film. If you like slightly dark stories of Latin American culture with a magical twist, Eréndira should be your first choice.