Holy Pafnucio (Pafnucio Santo)
Greek title: Ο Άγιος Παφνούτιος
Russian title: Святой Пафнутий
Original title: Pafnucio Santo
Russian title: Святой Пафнутий
Original title: Pafnucio Santo
Fantasy movie – Mexico
Production year: 1976
Movie length: 98 minutes
Production year: 1976
Movie length: 98 minutes
Director: Rafael Corkidi
Writer: Rafael Corkidi, Carlos Illescas
Cinematograph: Rafael Corkidi
Music: Héctor Sánchez
Writer: Rafael Corkidi, Carlos Illescas
Cinematograph: Rafael Corkidi
Music: Héctor Sánchez
Movie description:
The controversial, sexy, surreal story of a messenger and his journey and encounters with many historical events and people like Auschwitz, the Ku Klux Klan, Frida Kahlo, Cortes and Emiliano Zapata (as a beautiful woman!).
A dark-caped spirit and a boy called Pafnucio Santo are searching for an appropriate woman to bear the next Messianic child. This backdrop is the pseudo-mystical excuse to film a series of symbolic scenes full of historical figures and archetypes, most of which lip-sync to classical opera. A grand (pretentious) operatic-cum-surrealistic view of humanity is portrayed with Corkidi’s flair for using a striking blend of costumes and natural landscapes or old ruins. There’s also a group of American football players practicing in the ruins, and the kid is dressed in a similar outfit, symbolizing something or another ... We see Adam and Eve and their embarrassment over nudity, Jewish mothers and children led to a concentration camp in the desert, Hernando Cortez singing in a pigsty, Romeo and Juliet, Jesus, French and Mexican revolutionaries, etc etc. They mostly sing, and the child wanders from one female archetype to another, trying to recruit them and judge their qualifications, including a dancing naked primitive in the desert, a housewife, a forest maiden, a revolutionary with a machine gun, and others. Not so much a movie as a musical lip-sync opera set to a sequence of pretentious surreal scenes with striking visuals.
«Pafnucio Santo» by Rafael Corkidi mixes religion, politics, Mexican history and opera.
At its simplest, it deals with the search for a woman to bear a new Messiah, undertaken by a small, football-helmeted boy, Pafnucio, at the behest of a sinister-looking, black-caped heavenly emissary who has borne witness – we see – to the flight from Paradise, cross burnings by the Ku Klux Klan, the march of Jewish children into Nazi death camps and the crucifixion of Jesus.
The search undertaken by Pafnucio carries him back and forth in Mexican history from Cortez to modern revolutionaries, with Patricia Hearst thrown in as Patricia Kane, obviously a descendant of the cinema Citizen of the same name. Everybody sings, and in the case of classic compositions, the original lyrics are retained, although the subtitles on the screen have the characters saying such things as «Don’t you see the Empire is crumbling?» or «Your God killed our gods – our temples, our art all lies in ruins».
A dark-caped spirit and a boy called Pafnucio Santo are searching for an appropriate woman to bear the next Messianic child. This backdrop is the pseudo-mystical excuse to film a series of symbolic scenes full of historical figures and archetypes, most of which lip-sync to classical opera. A grand (pretentious) operatic-cum-surrealistic view of humanity is portrayed with Corkidi’s flair for using a striking blend of costumes and natural landscapes or old ruins. There’s also a group of American football players practicing in the ruins, and the kid is dressed in a similar outfit, symbolizing something or another ... We see Adam and Eve and their embarrassment over nudity, Jewish mothers and children led to a concentration camp in the desert, Hernando Cortez singing in a pigsty, Romeo and Juliet, Jesus, French and Mexican revolutionaries, etc etc. They mostly sing, and the child wanders from one female archetype to another, trying to recruit them and judge their qualifications, including a dancing naked primitive in the desert, a housewife, a forest maiden, a revolutionary with a machine gun, and others. Not so much a movie as a musical lip-sync opera set to a sequence of pretentious surreal scenes with striking visuals.
«Pafnucio Santo» by Rafael Corkidi mixes religion, politics, Mexican history and opera.
At its simplest, it deals with the search for a woman to bear a new Messiah, undertaken by a small, football-helmeted boy, Pafnucio, at the behest of a sinister-looking, black-caped heavenly emissary who has borne witness – we see – to the flight from Paradise, cross burnings by the Ku Klux Klan, the march of Jewish children into Nazi death camps and the crucifixion of Jesus.
The search undertaken by Pafnucio carries him back and forth in Mexican history from Cortez to modern revolutionaries, with Patricia Hearst thrown in as Patricia Kane, obviously a descendant of the cinema Citizen of the same name. Everybody sings, and in the case of classic compositions, the original lyrics are retained, although the subtitles on the screen have the characters saying such things as «Don’t you see the Empire is crumbling?» or «Your God killed our gods – our temples, our art all lies in ruins».
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