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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.
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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.
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 »
In the early 60s, two boys - Ignacio and Enrique - discover love, movies and fear in a Christian school. Father Manolo, the school principal and Literature teacher, both witnesses and takes part in these discoveries. The three characters come against one another twice again, in the late 70s and in 1980. These meetings are set to change the life and death of some of them. Written by
Mexican born actor Gael García Bernal had to be able to do a convincing Spanish accent before Pedro Almodóvar would allow him to get his role(s) in the movie. Bernal also had to master Spanish body language. He took flamenco lessons to help him do that. He also studied the films of Barbara Stanwyck and Spanish camp icon Sara Montiel, as well as Almodovar's previous leading ladies, Carmen Maura and Victoria Abril. When asked, however, if there was a particular femme fatale he sought to emulate, Bernal's response was Alain Delon's sexually ambiguous Ripley in Purple Noon (1960). See more »
When Burenguer declines Ignacio's story over the phone, he says that he wouldn't be accepting it for "Short Stories of the 80's". According to his story, it would have had to been at least 1977, three years before the '80s let alone before a compilation of stories from the '80s would be released. See more »
I think I've just lost my faith at this moment, so I no longer believe in God or hell. As I don't believe in hell, I'm not afraid. And without fear I'm capable of anything.
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(Arcadio Rosés Berdiel / Manuel Aniesa (as Manuel Aniesa Pelayo))
(c) 1960 by Arcadio Roses Berdiel/Manuel Aniesa Pelayo, Madrid
Authorized by the exclusive worldwide rights holder, Ediciones Musicales Hispavox, S.A.
Performed by Sara Montiel
By the license from Dpto. de Productos Especiales de (p) EMI Odeon, S.A., Madrid, España, 2003 See more »
It is a very good film, although not as absolutely great as "Todo sobre my madre" and "Hable con ella"... Maybe because "Mala education" is sadder and darker than the previous Almodòvar films, the theme (the child abuse during college years) is disturbing and depressing, of course.
Almodòvar chooses this time a "noir" story. Enrique, a young movie director, looks for ideas for his next film. By chance he meets Ignacio, an old fellow of the college and his first love. Ignacio gives him a tale written by him, about the sexual abuses on him made by a priest during his childhood, in the college. This will be the inspiration for Enrique's movie, but the director will discover another dramatic truth...
In this film the gay element -which exists in all the Almodòvar's movies- comes back, stronger than in his last films. But above all there's the child rape problem, this is one of the most delicate themes the Spanish director has ever talked about. And naturally "Mala educacion" is one of his most tragic films. Whereas in the previous movies Almodòvar always let a place for hope, with this film it's not the case. That's why it is a very difficult tale to watch.
Cinematography is excellent, the music as well (with many recalls to the Sixties songs). Actors are also very good. For Gael Garcia Bernal (we saw him recently in "Motorcycle diaries") this is another solid effort. He portrays Ignacio, he enters the Almodòvar world with all the ambiguity required.
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