Thomas Sotinel, "Volver" : les meilleurs des mondes selon Pedro Almodovar ( Le Monde, May 20)
Peter Bradshaw, Volver ( The Guardian, August 25)
Rob Nelson, The Man Who Loved Women ( The Village Voice, October 31) Scott, The Darkest of Troubles in the Brightest of Colors ( New York Times, November 3) The opening scene of women cleaning sepulchers in the cemetery, including women who are tending their own graves for when they die, and a spectacular close-up of paper towels soaking up blood are memorable.ĭesson Thomson, Pleasure Cruz ( Washington Post, December 22)Ī.
Pelicula volver pedro almodovar movie#
The movie is beautifully and lovingly shot (cinematography by José Luis Alcaine), both the beauty of the village and the squalor of Madrid. Both themes figure prominently in Volver, but in a way that is both more gentle and more powerful than any of these previous films. In recent movies, Almodóvar has become obsessed with the mechanics of death and grief (the disturbing, surreal Hable con ella) and the righting of past wrongs ( La Mala educación and Todo sobre mi madre). Both are deserved.) The few men in the film are small in stature, mostly obstacles to be overcome. (Almodóvar also won the award for best screenplay. Along with Raimunda's daughter, Paula (Yohana Cobo), we have women admired by Almodóvar over the course of three generations, and they form an excellent ensemble cast, collectively awarded the "Best Actress" award when Volver was screened at Cannes. It is a touching reunion for Almodóvar and Carmen Maura, who was the star of several of the director's earlier films, most notably Mujeres al borde de un ataque de nervios (1988) and ¿Qué he hecho yo para merecer esto! (1984). Never far from this superstitious world is the presence of their mother, Irene (Carmen Maura), whose spirit the villagers believe is watching over Tía Paula. The frequent shots of wind turbines, generating electricity, again recall the ingenioso hidalgo of Cervantes, who mistook the 16th-century predecessors of these modern windmills for giants.Ĭarmen Maura and Pedro Almodóvar, on the set of VolverĪfter the death of their parents in a fire, the sisters return to the village to tend the family grave and look in on their senile aunt, Tía Paula (Chus Lampreave). The village is fictional (it was actually shot in a place called Almagro, near where Almodóvar himself was born), but the region is indeed arid and windswept, and as often happens where there are sinister winds, fires and madness do abound in La Mancha. Two sisters, Raimunda (Penélope Cruz) and Soledad (Lola Dueñas), travel back and forth between their new homes in Madrid and that little town, later identified as Alcanfor de Las Infantas, the town in Spain with the highest rate of insanity among its inhabitants. The heart of the movie is in a small village of credulous provincials in La Mancha, the natal region of both Don Quixote and Pedro Almodóvar. It has all of the positive qualities of his earlier films - the humor, sometimes off color the idolization of the eternal feminine the mixture of fantasy and reality the flavor of Spain - just without the drag queens and transsexual prostitutes. However, those who do not know Almodóvar's work, or who have had a bad experience with it, should give this excellent movie a chance. Fans of the legendary Spanish director will not need to read any review, no matter the tone, to want to see this film.
Pedro Almodóvar's latest film, Volver, was screened in a couple suburban locations starting last month, but it has just opened on two screens at the E Street Cinema. Penélope Cruz in Volver, directed by Pedro Almodóvar, 2006
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