At the flamenco dance school which forms the master setting for Carlos Saura’s movie version of the Antonio Gades stage show Carmen, the rehearsal for the tobacco factory scene should be enough to drive the new viewer in search of the DVD that will yield the complete miracle. One of the greatest dance movies ever made, Carmen powerfully suggests that if Saura’s other dance movies had been danced to flamenco on wooden floors they would have been miraculous too. But in his Amor Brujo the flamenco dancers dance on sand, thereby removing three-quarters of the impulse, and his tango movie (called simply Tango) is miles off: Saura’s true talent is for filming dancers in groups, and the tango is not a group dance.