When it appears as though the end is in sight, the pilots, flight crew, and passengers of a plane heading to Mexico City look to forget the anguish of the moment and face the greatest danger, which we carry within ourselves.
Yolanda sings in a seedy nightclub. When her boyfriend dies of an overdose, she fears the police and seeks refuge in a convent that saves women from the streets. These off-beat nuns include a heroin using abbess who loves Yolanda, one who writes romance novels under a pseudonym, another raising a tiger in the convent yard, and one who designs fabulous fashions and is in love with the local priest. They plan an evening extravaganza starring Yolanda to celebrate the abbess's birthday and to convince their wealthy patron not to abandon them. Written by
Pedro Almodóvar's first film to have a proper producer and be made for a proper film company, rather than be made on the hoof like his previous projects. Almodóvar has since distanced himself from the film as he felt that he had to bow to commercial considerations. See more »
The "Salí porque salí" song is obviously not sung by Yolanda nor the backing vocalists. See more »
This film made after Almodovar's first more upbeat outrageous films, is a film that tells of the end of the Movida Madrilenia, a movement existing in the early eighties in Madrid that was defined by a mixture of new romantic punk and pop, and the ironic use of Spanish folklore and the 'housewife' culture. When people in this subculture started to commonly use heroine, the downfall of the movement had begun. This film is about the choices that people had to make at the end of this era. some stayed junkies, others died, some went back to the small towns where they had moved from, others went on to give up on drugs and become more constructive. The convent where the nuns reside can be interpreted as the habitation of this irreverent movement, frequented by police searches, dealers, artists, and junkies. The movie has some great musical moments which indicate that Almodovar might one day take his hand to this genre. The religious element interwtined with (homo)sexuality will certainly be proliferated again in the forthcoming movie La Mala Educacion. The movie also contains a cameo of a Spanish 'Harrold Robbins' type of writer, who is featured sitting at one of the tables wiping her mouth with a handkerchief as Yolanda sings in a night club at the beginning of the movie. This authopr refers to the character of sister Rata de Callejon, who has a secret career as trashy novel writer. The film is somewhat darker than most of Almodovar's early movies, but is very gentle, provides enough comedy and the characters above all remain very human, all of them have their virtues and vices.
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