Death, Cantabrian film director Mario Camus dead at 86

The Cantabrian film director and screenwriter Mario Camus (Santander, 1935) has died at the age of 86, according to the Film Academy in a publication on his Twitter account this Saturday. The filmmaker received the Goya Honor Award in 2011, and The Film Academy hopes to recognize his life’s work in the film industry.

Camus directed such films as “The Hive”, “The Holy Innocent”, “Shadows in Battle”, “The City of Prodigies” or “The Color of clouds. “” Filmmaker Mario Camus died in Santander. The author of our film classics like ‘The Holy Innocent’, ‘The Beehive’, ‘The Past’ or ‘The Woman’. He was awarded in 2011 with the Goya Award of Honor ”, he lamented. the Film Academy.

The Film Academy emphasizes that, far from fashion trends and impulsive followers, Mario Camus is a person who resists. Since the early 1950s, he has been telling stories for himself and other filmmakers. Goya won the Best Original Screenplay Award for “Shadows in Battle”. He won the Goya Honor Award in 2011.

This is a trophy he collected to contribute to the film “Unifying You with the Masters of Light and Music” Tribute to craftsmanship.

The director and Cantabrian screenwriter’s name is always associated with the names of Miguel Delibes and Camilo José Cela, but he was adapted by Daniel Sueiro when he debuted and transferred Ignacio Aldecoa, Jorge Semprún and Rafael Azcona to Audiovisual language. A work that made him feel comfortable, in addition, he was recognized by the producer, “They respect the published work very much and will not try to change you a comma.”

Member of a generation that includes Carlos Saura, Basilio Martín Patino, Miguel Picazo, Francisco Regueiro and José Luis Borau, Camus signed 29 films -‘The meadow of the stars’ was the last-, he was the co-writer of ‘Roma’, the author of the libretto for ‘Los golfos’ and directed several television series -‘Curro Jiménez’, ‘Fortunata y Jacinta’, among others-.

The director made feature films with Raphael and Sara Montiel, and in two of his productions, ‘Shadows in a battle’ and ‘La playa de los galgos’, he addressed the subject of ETA. The Film Academy has noted that Camus “felt very loved by his film family, a family that he felt very faithful.”

Without choosing between films, scripts, television stories, a medium for which he also signed ‘The return of El Coyote’ or ‘The forge of a rebel’, “because each work has its own life during filming”, Camus was a perfectionist: ” What bothers me the most is when you’ve failed.

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