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JAMÓN, JAMÓN (HAM, HAM) Bigas Luna (Rome, 2000).

JAMÓN, JAMÓN

In retrospect, I think "Jamón, Jamón" is a more balanced film because it encompasses my two personal poles and worlds; the Bigas side and the Luna side, the most humane and naturalist part. Everybody talks about the symbols of this film but, having seen it repeatedly, I would suggest that the only aspect that is of interest to us is the story of a girl who suffers and nothing else.

[The Character: Raúl] is above all the triggering factor of the passions of two of three of the female leading characters in the story. He represents a sensuality that is close to an animal, both in "Huevos de oro" (Golden Balls) and "Jamón, Jamón" (Ham. Ham). But he is also a "body" that doesn't act according to the commands of his brain but solely according to sexual instinct. That is why he is doomed to failure. The final sequence is a modern version of a 17th century allegorical religious play with the two Madonnas holding the baby boy on their lap amid the symbols of the boy's obsessions: the ham (food), the Mercedes (luxury), etc.

BIGAS LUNA