Passion, obsession, wealth, jealousy, family, guilt, and creativity. In Madrid, Harry Caine is a blind screenwriter, assisted by Judit and her son Diego. The past comes rushing in when Harry learns of the death of Ernesto Martel, a wealthy businessman, and Ernesto's son pays Harry a visit. In a series of flashbacks to the 1990s, we see Harry, who was then Mateo Blanco, a director; he falls in love with Ernesto's mistress, Lena, and casts her in a film, which Ernesto finances. Ernesto is jealous and obsessive, sending his son to film the making of the movie, to follow Lena and Mateo, and to give him the daily footage. Judit doesn't like Lena. It's a collision course.Written by
Agustín Almodóvar: Pedro Almodóvar's brother, and the film's producer, appears as an employee of Ernesto Martel, in the scene where Lena returns from hospital. Agustín has cameos in 15 of the 17 films which Pedro Almodóvar has directed. See more »
When the movie goes back to 1992, Ernesto Martel speaks from his office about getting a contract to build Caracas' Metro. This Metro was built more than 10 years earlier than that. See more »
[in Spanish, quoting English subtitles]
What's your name?
I used to be called Mateo and I was a film director. I was always tempted by the idea of being someone else, as well as myself. Living one's life wasn't enough, so I invented a pseudonym, Harry Caine, an adventurer who, as fate would have it, became a writer. I had him sign all the scripts and stories I wrote. For years, Mateo Blanco and Harry Caine shared the same body, mine. But a moment came when ...
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Written by Uffie and Feadz
Performed by Uffie
Courtesy of Ed Banger Records See more »
Spain's finest export strikes again
Pedro's back and Madrid has gone wild. With the release of his 17th feature film, "Los Abrazos Rotos" (Broken Embraces) Almodovár tells the tale of a blind film director (Lluis Omar) and how he came to lose not only his sight, but also the love of his life (Penelope Cruz). The film is by no means a departure from the Spaniard's typical traits, with the picture employing the usual Almodóvar fodder love, lies, tears, melodrama, comedy - to great effect. The film journeys between the past and the present, and interweaves diverse stories and viewpoints, to construct a fascinating drama full of twists and turns. The acting is terrific and there are many 'in-jokes' involving subtle references to previous Almodóvar films, with the picture rounded off nicely by a soundtrack produced by the ever-brilliant Alberto Iglesias (featuring original music alongside tracks by Uffie, Cat Power and Can).
My only gripe would be the film's length, clocking up over 2 hours a factor which is noticeable given that the film's storyline does seem to run out of steam after the 90-minute mark. But that minor complaint should not detract from the fact that Almodóvar has demonstrated himself to be one of the most individual and consistent film-makers in modern cinema. It must be said that 'Los Abrazos Rotos' is not the tour-de-force that some fans may have hoped for and falls short of eclipsing what in my opinion was his career high Hable Con Ella (Talk to Her). Nevertheless, Almodóvar delivers a very engaging film which is sure to become another hit, and will no doubt earn more accolades for the man who can deservedly call himself Spain's most successful film-maker of all time.
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