Two years after delivering what many thought — or perhaps feared — to be a valedictory grace note with 2019’s “Pain and Glory” (and one year after the English-language short “The Human Voice” showed that certain authorial voices lose nothing in translation), Pedro Almodóvar has returned with a feature to prove the doomsayers wrong.
A rougher and altogether less cohesive bit of filmmaking than his previous two outings, “Parallel Mothers” instead offers something all the more exciting: The work of an artist who’s reached the top of his craft and asked, “What’s next?”
In this case, the answer comes with a more expressly political conscience, an activist charge the Spanish filmmaker had never before expressed in his work. But as he reflects on the legacy of the Spanish Civil War and the contemporary political debates about exhuming the unrecorded mass graves that still dot the Spanish countryside, Almodóvar hasn’t exactly changed his tune.
A rougher and altogether less cohesive bit of filmmaking than his previous two outings, “Parallel Mothers” instead offers something all the more exciting: The work of an artist who’s reached the top of his craft and asked, “What’s next?”
In this case, the answer comes with a more expressly political conscience, an activist charge the Spanish filmmaker had never before expressed in his work. But as he reflects on the legacy of the Spanish Civil War and the contemporary political debates about exhuming the unrecorded mass graves that still dot the Spanish countryside, Almodóvar hasn’t exactly changed his tune.
- 9/1/2021
- by Ben Croll
- The Wrap
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