Pedro Almodóvar

In 2004, an ad director faces a turbulent Christmas weekend. In 2026, a filmmaker turns her story into a screenplay, blurring the lines between reality, fiction, and the people closest to him.Read More »

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Though the kinky characters and aberrant social behavior common to the works of Spanish director Pedro Almodovar are very evident in his Women on the Verge of a Nervous Breakdown, the film is at heart a door-slamming farce in the grand tradition. The tiny apartment of pregnant actress Carmen Maura is the “Grand Central Station” setpiece for this dizzying tale. Distraught over her recent breakup with her lover, Carmen prepares to overdose on sleeping pills, which she blends into a gazpacho so they’ll go down easier. She is diverted from her suicide by her best friend Maria Barranco, a fugitive from justice (her boy friend is a Shi’Ite terrorist) who needs a place to stay. Later, when Carmen’s apartment is empty, her ex-lover’s grown son (Antonio Banderas) comes to the apartment with his fiance (Rossy de Palma) in answer to Carmen’s “room to let” newspaper ad. The wife inadvertently ingests Carmen’s “pill sauce,” and as she blissfully snoozes, the husband inaugurates an affair with Carmen’s friend Barranco.Read More »

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Harshly treated by the critics on release, of Pedro Almodovar’s work, Kika is perhaps the one that most benefits from re-viewing and re-assessment.

The story of Kika (an astonishing Veronica Forque), a Madrid makeup artist whose relationship with Ramon (Alex Cassanovas) leads to criminal schemes involving Kika’s maid Juana (Rossy DePalma), Jauan’s amorous, criminal brother Pablo (Santiago Lajusticia) and Ramon’s youth-obsessed father Nicholas (Peter Coyote). Overseeing it all is the muckraking, reality tabloid television show presided over by the formidable Andrea Scarface (a uniquely attired Victoria Abril).Read More »

After twenty-five years, Silva rides a horse across the desert to visit his friend Sheriff Jake. They celebrate the meeting, but the next morning Jake tells him that reason for his trip is not to go down the memory lane of their friendship.Read More »

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Marisa Paredes is Leocadia (“Leo”) Macias, a woman writing “pink” romance novels under the alias of Amanda Gris that are very popular all across Spain. Unlike her romantic novels, her own love life is troubled. Leo has a less than happy relationship with her husband Paco, a military officer stationed in Brussels then later in Bosnia, who is distant both physically and emotionally.Read More »

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The first feature film from Spanish director Pedro Almodóvar is controversial and shocking, especially the time it was made (although not that shocking in Spain), but also very funny. Basically it is a movie about nothing, although it shows a pop-culture that Almodóvar inhabited.

We see how Pepi (Carmen Maura) is raped by a policeman (Félix Rotaeta) after she offers sex, although tries to back out, so he would not report her illegal cannabis plants. Pepi seeks revenge and she lets her friends beat the guy up. It seems they have beaten his twin brother so Pepi must come up with another plan. She tries this through the policeman’s wife named Luci (Eva Siva) who turns out to be a masochist, perfect for Pepi’s friend Bom (Olvido Gara) who likes to disparage her.Read More »

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A dysfunctional family in Madrid: Gloria is a cleaning lady, hooked on No-Doze, living in a crowded flat with Antonio, her surly husband, a cabby who adores an aging German singer he used to chauffeur; he’s also a forger. One teen son sells heroin, the other sleeps with men. Her mother-in-law keeps bottled water and cupcakes under lock and key, selling them to the family. Two alcoholic writers cook up a plot to sell a manuscript as Hitler’s memoirs, if Antonio will transcribe it in Hitler’s hand. He agrees, so they ask the German singer to play the role of the original owner since her past affinity for Nazi memorabilia makes her a likely candidate. Meanwhile, Gloria has given away one son to a sex-crazed dentist, and grandma picks up a pet lizard. Can this chaos be tamed?Read More »

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Pedro Almodovar’s films are a struggle between real and fake heartbreak–between tragedy and soap opera. They’re usually funny, too, which increases the tension. You don’t know where to position yourself while you’re watching a film like “All About My Mother,” and that’s part of the appeal: Do you take it seriously, like the characters do, or do you notice the bright colors and flashy art decoration, the cheerful homages to Tennessee Williams and “All About Eve” (1950) and see it as a parody? Even Almodovar’s camera sometimes doesn’t know where to stand: When the heroine’s son writes in his journal, the camera looks at his pen from the point of view of the paper.Read More »

Synopsis: A woman watches time passing next to the suitcases of her ex-lover (who is supposed to come pick them up. but never arrives) and a restless dog who doesn’t understand that his master has abandoned him.Read More »