A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.
Leo Macias writes sentimental novels with great success but hidden under a pseudonym, Amanda Gris. She is unhappy with her professional life and with her husband, a soldier working in ... See full summary »
A man wanders out of the desert after a four year absence. His brother finds him, and together they return to L.A. to reunite the man with his young son. Soon after, he and the boy set out ... See full summary »
Harry Dean Stanton,
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
A single mother in Madrid sees her only son die on his 17th birthday as he runs to seek an actress's autograph. She goes to Barcelona to find the lad's father, a transvestite named Lola who does not know he has a child. First she finds her friend, Agrado, a wild yet caring transvestite; through him she meets Rosa, a young nun bound for El Salvador, but instead finds out she is pregnant by Lola. Manuela becomes the personal assistant of Huma Rojo, the actress her son admired, by helping Huma manage Nina, the co-star and Huma's lover. However, Agrado soon takes over when Manuela must care for Hermana Rosa's risky pregnancy. With echos of Lorca, "All About Eve," and "Streetcar Named Desire," the mothers (and fathers and actors) live out grief, love, and friendship. Written by
Agrado's monologue was based on a real life event. When the electronic system of an Argentinian theater failed, the director suspended the show. Actress Lola Membrives decided to give the news to the audience and make them an offer: if they'd stay, they could listen to the narration of her life. See more »
There are people who think that children are made in a day. But it takes a long time, a very long time. That's why it's so awful to see your child's blood on the ground. A stream that flows for a minute yet costs us years. When I found my son, he was lying in the middle of the street. I soaked my hands in his blood and I licked them. Because it was mine. Animals lick their young, don't they? I'm not disgusted by my son. You don't know what it's like. In a monstrance of glass and topaz. I would ...
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I've watched this masterpiece by Almodovar four times. Each time I unearth new sequences of pure unadulterated truth, beauty, and genius. It is just a totally compelling and amazingly insightful comedy-tragedy that works on so many levels.
Cecilia Roth is an Almodovar favorite, and there's no mystery as to why this is the case. She can express tragedy, wisdom, and an appreciation of dark humor only with her eyes and facial positioning, and express all three vividly at the same time. Her voice also is as commanding of respect as it is sexy and fragile.
Almodovar eye for visual poems of incongruity reaches a new pinnacle in this masterpiece. First, there is the haunting by-play of darkness and light preceding Roth coming to the rescue of El Agreado. Much later, we are treated to the brightness of the upscale restaurant Roth where Roth waits for her ex-husband Lola juxtaposed with a merciless exploration of the vast dark despair of Lola's eyes. Between these bookend-style frames, the profound dualities abound.
If you see one foreign language film per year, make this your next one.
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