Hellen I like the storyline of this show,it attract me so much

Solemplex To me, this movie is perfection.

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Kirpianuscus in many senses. not all easy to seduce. slow motion cinematography, landscapes from Capadoccia, poetic images, admirable presence of Maria Alfonsa Rosso and Garcia Lorca play atmosphere. a film who must admire ignoring the story because the first scenes are enough for know the evolution of the relations between characters to the tragic end. and the accuracy to the play is sacrificed for the noble desire to give an art film. result - "La novia" is one of films for a reduced target. a public who discovers more than the good intentions of the director or the changes by the play. a public seduced by atmosphere. by poetry of image. by the similarities with other tragic love stories. a film seduced by costumes and air and broken glass and costumes and old earrings. nostalgia. and justice.

Edgar Soberon Torchia The love triangle played by stereotyped performers (a ravishing brunette leading lady, a soap-opera hunk with long hair and a beard of several days, and a tall man wearing glasses to make him look a little ugly) is accompanied by phallic signs everywhere, crystals, bad wigs, wild horses, postcard landscapes, apparitions, compositions of artsy photographs, a somewhat ridiculous climax with the hunk displaying his bare ass as he duels wearing only a shirt, a few dances and to top it all a silly little song in English for the closing credits. Federico García Lorca must turn in his grave, as the saying goes, every time somebody projects "La novia" and that theme resonates in English, considering that it is a rereading of Lorca's "Blood Wedding", a play graced with his diaphanous verses in crystalline and musical Spanish. The Spanish-German co-production was filmed in several places (including Zaragoza and Turkey) to tell us once again this story of passions, false honor and machismo, the type of machismo that turns people mad and kills. In all of this, to my taste Luisa Gavasa (of course, awarded a Goya as best supporting actress) is the best thing, as a landowner and matriarch, a hurt avenger, a castrating mother, the mother queen of all the femi-Nazis in the world. In any case, different strokes for different folks, but surely not mine.

David Ferguson Greetings again from the darkness. The pitch for this movie might have come across as blending a Greek tragedy with a romance novel, and then adding a dash of revenge. Fortunately director Paula Ortiz's vision for the Federico Garcia Lorca play "Bodas de sangre" is more poetic and lyrical than such an overview would suggest.Love triangles are the core of many stories and movies, but it's the opening sequence here that clues us in that the trouble has already occurred, and though it removes some of the suspense of "what", it certainly sets the stage for an interesting "how" and "why".Beautiful Inma Cuesta plays Novia (billed only as the titular bride) who is engaged to Asier Etxeandia (billed only as Novio, the groom). The abundance of family stress (on both sides) has little to do with the wedding plans, and more to do with Leonardo (Alex Garcia). Leonardo is more than the local hunk who is always lurking about on horseback; he's also the third wheel who can't let go of his desire for Novia … in spite of his young child and pregnant wife. To make things messier, Novia seems to answer his heightened desire for her with her own uncontrollable passion for him.It's Yin and Yang. Safe and Dangerous. The bride's conflicted choice leads the groom's mother (Goya winner Luisa Gavasa) to be a foreboding presence throughout, and keeps most of the village on edge. Additionally, there is an element of mysticism as Maria Alfonsa Rossa appears periodically as the figure of death – and we are never quite sure of the motivations behind her advice.Goya winner Miguel Amoedo provides beautiful cinematography that balances between fantasy, harsh realities, and the romance of the moment. There are many intimate close-ups, as well as some stunning desert wide shots of Leonardo riding the horse. The score and soundtrack are terrific, including Soledad Velez with a haunting version of Leonard Cohen's "Take this Waltz".The concept of destiny vs. choice hovers over most scenes, and the twisted family and childhood histories give the film a Shakespearian feel. Last year, the film received numerous Goya nominations (including Ms. Cuesta, Ms. Ortiz, Mr. Garcia) are resulted in the wins for Ms. Gavasa and Mr. Amoedo. It may not make the best Valentine's Day date movie, but it is an interesting watch from the romance-tragedy-revenge-horseback genre.

MartinHafer "The Bride" is a film version by Paula Ortiz of the classic Federico Garcia Lorca tragic play "Blood Wedding". However, unlike the original play, the order of the story had been changed significantly and begins at the end of the story. Because of this, the audience is both confused and knows that some sort of murderous event has taken place. I found it helpful to read through a synopsis of the play before watching the movie.The Bride (she is given no other name) is going to marry the Groom (he also has no other name). However, Death (disguised as a poor beggar woman) has come to the Bride and begs her not to marry unless she is truly in love with the Groom. Apparently, she is not, as she has fallen for a married man named Leonardo. But, despite this, she marries. However, during the wedding party that follows, she and Leonardo run away together, leading, naturally, to disaster.The synopsis is simple…the film is not. As I already said, the order of the story has been mixed up in Javier García Arredondo's screenplay. This decision makes this a much artsier sort of picture…though also one that is difficult at times to follow. Additionally, the picture is full of the Bride staring into space, long extended takes and slow motion cinematography. The acting is very, very slow and deliberate as well and makes the film somewhat poetic. Some may like this…as for me, I would have preferred a more direct telling of the Garcia Lorca play—especially since it, too, has a lot of symbolism. Additionally, knowing that bloodshed is coming at the very beginning of the story seems to take away from the suspense of the tale. Overall, this is a nice looking but confusing and not altogether enjoyable film. If you want a Spanish language tale of fated romance and death, I suggest you instead try the Oscar-nominated picture "The Crime of Father Amaro" ("El Crimen del Padre Amaro"). I don't love that story either, but it is less confusing and enjoyable…if a story about death and romance can be enjoyable.