•
Rating: I consider this film one of Almodovar's best, just like all those he made in the late 80s. The film is an intense melodrama in black and pink, with all the Almodovar ingredients: from a formidable Carmen Maura in the role of a transsexual who lovingly takes care of her daughter, with the usual drama linked to memories, to fantastic lines that alone make the whole film worthwhile (Tina, entering the boys' reform school: I had so many orgasms within these walls…) to the goosebump-inducing melodramatic music (Buscaglione's song is perfect at the moment of the passionate murder), to the stunning images of two joined bodies, and to a disorienting beginning typical of the great Pedro.
Plot: Pablo and Tina are siblings; their parents separated when they were both boys. Tina, who does not shy away from cocaine or sapphic experiences, was previously called Tino. She lived with her father, had a relationship with him, and changed gender, becoming his wife. A few years later, he abandoned her and there was no one left for her, until Pablo (A. Banderas), who is in love with Juan, meets Antonio, a young man who soon becomes a possessive and threatening lover. When Tina meets him, it is the beginning of the tragedy… Antonio experiences a passion so intense that he kills his rival and sacrifices himself to satisfy his desire.
In this film, Almodovar seems to show the 'amour fou' of the surrealists, that passion, that desire which clouds reason: each character follows their desire which determines their actions, their pleasure, and their pain (for Pablo, the desire for an absolute love where he writes to his lover the letter he wishes to receive, for Antonio who defies everything to die to satiate his passion for Pablo, and for Tina, her passion for suffering and loneliness).
Spectacular also for the absolute lack of prejudice towards anything and for how, from a sad and degenerate context, it manages to draw a story rich in humor and pathos until the end.
Loading comments slowly
