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Pizza delivery man Victor is having an argument with Elena, whom he met a few days ago, but she was high then and doesn't want to hear about him. Reacting to the noise, two cops, young David and older Sancho, arrive at the scene, the gun accidentally goes off.. Four years later David is a wheelchair basketball star, he's married to Elena, Victor is released out of prison and their destinies begin to cross again. Written by
He touches on deep stuff without pretending that he has to do so in a story. Thus he avoids moralizing and is able to maintain all sorts of ambiguities and overlaps between different parts of the world. Oh, there's always a story, but they are so soap opera-ish and delivered so jauntily that they actually separate from the movie.
He does everything cinematically. He really has an eye that is a treasure. Every element of what we see, WE SEE. It isn't explained. It isn't in dialog that we happen to overhear, we see it. Not only does he use a cinematic vocabulary to deliver the main goods, but similar devices are used to show us that it is a layered structure.
He mixes television (in several modes), old movies, and out of body narrative. Often dreams and visions. Paintings, photographs and postcards and in this case an imagined ending (after "Taxi Drviver). Often one or more characters is a generator of public stories; here it is a wounded cop who becomes a wheelchair basketball star.
He's not my favorite Spaniard, and this isn't my most valued of his films. But its hard to better than any visit from Pedro.
Its an honestly vaginal world (with the connection among several layers being there) and I suppose therefore most women will actually think the story matters.
Ted's Evaluation -- 3 of 3: Worth watching.
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