TonHis first day Venice Film Festival It is exciting and full of expectations. The staff wear medical masks, the cinema has been disinfected, and the guests gather at the door like anxious family members outside the delivery room. Fortunately, they are well taken care of; Pedro Almodóvar is a midwife. He provided a vibrant opening night photo.
Shows from Penelope Cruz, Parallel Mothers is portrayed as a boisterous birth swap melodrama, full of chaos and moral dilemmas, and occasionally inclined to farce. But the first appearance is deceptive, and the film belies its high-concept conceit. We are told that the genes of all newborns carry the ghosts of the past—the same is true of Almodóvar’s latest work, which is knotted and subversive; an autopsy of the dark history of Spain, dressed as a bright baby shower . This is a turbulent movie. The ingredients are not always gels. But its spirit is so generous that it is rude to complain. Most directors paid very little. In contrast, Almodovar has a wealth of wealth.
Cruz plays Janis, a 40-year-old photographer who is determined to raise her daughter as a single mother, as her mother and grandmother did before her. In the maternity ward, she met a teenager Anna (played by Milina Smit) who also wanted to do things alone. Women become intimate; they are all in the same boat. In a few months, a biological test will determine the connection between the two.
Almodovar used his usual energy and indulgence to deal with the twists and turns of the plot, rustling, providing a strong and warm celebration of female unity and temporary families that act as a life raft for those who feel adrift. Mothers love each other and do their best to raise children. The problem is that Janis knows the truth and Anna doesn’t. It is this deception and its influence that led the movie to a stranger and darker second act.
It is understood that Janis’ married lover is a forensic archaeologist and part of the foundation responsible for excavating the remains of victims during the Spanish Civil War. She wants him to help retrieve the body of her great-grandfather, which is said to be buried in a mass grave outside his old village. Towards the end, the elderly locals-mainly women-gathered on the grass and saw the old bones for the first time. This is a new life, and it is also precious to some extent.
No one will blame Almodovar for his ambition.If this ultimately lacks polished scanning and completeness Pain and glory, His previous characteristics, it makes up for with an atmosphere full of intimacy and throws a lot of ideas, leaving some tempting loose endings to be picked up and checked. Parallel Mothers spends most of its time confined to a small part of Madrid, but it looks like Janus, looking back at the past and the future, and then daring to join the points between them. This is a movie that has been tortured and pierced by tragedy, but it finally exits with a message of hope. The meaning of Almodovar is obvious. Only by confronting the crimes of the past (whether recent or historical) can Spain’s shaky modern citizens correct their mistakes and move on.
