La caza

La Caza (English: The Hunt) is a 1966 Spanish film directed by Carlos Saura. The film is a psychological thriller about three veterans of the Spanish Civil War who meet to go rabbit hunting. It was Saura's first international success, winning the Silver Bear for Best Director at the 16th Berlin International Film Festival. It is considered a classic of Spanish Cinema.

Plot

José, Paco and Luis, three middle-aged men, veteran Falangist, reunite in a provincial village of Castile, spending a hot summer's day drinking, reminiscing and hunting rabbits. José instigates the hunt. He is in debt because of an impending divorce and is living beyond his means with a younger woman. His main objective at the reunion is to secure a loan from Paco, a shrewd businessman, also unhappily in love and looking for younger women. Paco brings with him Luis, now employed at his factory. Luis is a weak, forlorn individual, an alcoholic addicted to wine, women and science fiction rather than social conviviality or male camaraderie. A fourth member of the group, Enrique, a teenage relative of Paco's comes along for the thrill of the rabbit hunt.

Caza

Caza, the pseudonym of Philippe Cazaumayou (born November 14, 1941), is a French comics artist.

Biography

At 18, Cazaumayou started a career in advertising which lasted for ten years, but in 1970 he entered the field of bandes dessinées, releasing his first album, Kris Kool. Caza began to publish work in Pilote magazine, starting with his series Quand les costumes avaient des dents (When Costumes had Teeth) in 1971, followed by other short work. The series of stories Scènes de la vie de banlieue (Scenes of Suburban Life) was published in 1975, followed by the L'Âge d'Ombre stories, Les Habitants du crépuscule and Les Remparts de la nuit.

With the emergence of the magazine Métal Hurlant in 1975, Caza began to supply work within the science-fiction genre, with titles such as Sanguine, L'oiseau poussière, initially working with an exhaustive black and white dot technique. This was later abandoned for a style of colour use which would become a trademark, as seen in later work such as Arkhê, Chimères and Laïlah.