A woman's lover leaves her, and she tries to contact him to find out why he's left. She confronts his wife and son, who are as clueless as she. Meanwhile her girlfriend is afraid the police... See full summary »
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Kika, a young cosmetologist, is called to the mansion of Nicolas, an American writer to make-up the corpse of his stepson, Ramon. Ramon, who is not dead, is revived by Kika's attentions and... See full summary »
Ex-bullfighter who is getting turned on by killing, lady lawyer with same problem and young man driven insane by over-religious upbringing - these are the main characters in this stylish ... See full summary »
A woman's lover leaves her, and she tries to contact him to find out why he's left. She confronts his wife and son, who are as clueless as she. Meanwhile her girlfriend is afraid the police are looking for her because of her boyfriend's criminal activities. They talk to a female lawyer, who turns out to be the lover's new lover, and everyone's path keeps crossing each other's in a very complicated and confusing manner. Written by
Ed Sutton <email@example.com>
In all the world of film, the most admirable achievement is a film that is entered well. It is the hardest thing in the world to do when you have something interesting to offer. Its why genres exist, to make the entry automatic for lesser filmmakers.
Almodovar is one of several Spanish-speaking filmmakers who are carrying the future right now. Some of his films are sublime. "Talk to Her" is so lovely and deep I feel he has secretly infected my marrow with an already lucid version of myself.
The actual movie of "Breakdown" is pretty trivial: part screwball, part what some call surreal but is really a goof on itself. (Not a parody, mind you. That's for dopes.) So once you get into it, its just a meal.
But the entry into this is so wonderful, so imaginative it will exhaust you.
Our heroine is a voice-over actress who dubs Spanish dialog for non-Spanish films. Her lover is as well, and they "play" lovers on-screen. Except it isn't them, exactly. And it isn't love, exactly. And they aren't playing, exactly.
(She also does commercials and this is how she is "seen" by the public. One is shown. Now this IS a parody, but it is presented as if it were not, mixing parody in with the "real," confounding the screwball nature of the thing.)
The entry into this film plays on the "not exactly" natures to slowly and gently (but with some viewer confusion) slide us from a space where we are watching a movie, to a space where we are in the midst of adding the meaning to an existing movie that isn't fully formed.
This man deserves celebration, attention. He deserves to be entered.
Ted's Evaluation -- 3 of 3: Worth watching.
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