The women's traumas draw them together even as they create rifts.
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At ease with one another, they understand limits and pleasure, and how to make the most of both. Irene's reappearance illustrates the extent of the women's community. Sole's belief in the ghost makes it acceptable for the rest of us. The ghost turns out to be Irene, returned to make peace with Raimunda. When Agustina tells a story about a spirit who visits her the night Paula dies, the women believe her without question. At the same time, more funerals loom, first when Irene's aged sister Paula (Chus Lampreave) passes on, and again when longtime family friend, Agustina (Blanca Portillo), is hospitalized with cancer. Her efforts to dispose of the body form a darkly comic, antic little subplot, à la Hitchcock. Paco soon suffers a bloody end for his abuses, and Raimundo explains his sudden absence as the result of an argument. The separated Sole is still inclined to romance, while Raimunda - married to the slovenly, lascivious Paco (Antonio de la Torre) - is not. Raimunda ( Penélope Cruz) and her sister, Sole (Lola Dueñas), mourn their mother, Irene (Carmen Maura), who died years ago in a house fire.
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Through the transformative power of his art - carried on the wings of Alberto Iglesias’ exhilarating score - we feel their presence. Volver is Almodovar’s passionate tribute to the community of women - living and dead - who nurtured him. Cruz, never more voluptuous (think Sophia Loren in Two Women) or vulnerable, is a force of nature fully deserving her Oscar buzz. With the help of six extraordinary actresses, who shared the acting prize at Cannes, Almodovar crafts one of the year’s best films. Plot is merely Almodovar’s way into the souls of his women. Throw in neighbor Augustina (Blanca Portillo), who’s dying of cancer but not before she adds a new twist. C) La solidaridad de las vecinas es, a juicio de Pedro Almodóvar, un retrato de la España blanca. That’s when Raimunda hides the body in a freezer in a restaurant, where she serves food to a visiting film crew. Fuente: Textos adicionales, Volver (Pedro Almodóvar, 2006) Valora la importancia de esta institución social en la película y para ti personalmente. When Raimunda is around, ghost mom hides under a bed, coming out to help only when Raimunda’s teen daughter Paula (Yohana Cobo) claims to have stabbed Raimunda’s husband, Paco (Antonio de la Torre), when he tried to rape her. No one doubts it, especially Sole, who passes off Irene as a Russian and puts her to work in the illegal beauty salon she runs in her apartment.
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Or did they? Almodovar keeps his movie as intimate as a whisper that makes us lean in to uncover its dark secrets.įor starters, the sisters have an aunt (Chus Lampreave) who claims their mom, Irene (the miraculous Carmen Maura reunited with Almodovar after seventeen years), has returned from the dead to take care of her.
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The opening scene is set in La Mancha (Almodovar’s birthplace), at a cemetery where Raimunda (Penelope Cruz) and her sister Sole (Lola Duenas) fight the wind to clean the gravestones of their parents, who died in bed in a fire. You’ll laugh, too - wildly, helplessly - because to Almodovar, laughter is life. In Volver (“return”), a movie that leaps off the screen to take its place in your dreams, the writer-director tells a ghost story that manages to include lust, incest, rape and murder. With a string of masterworks stretching from Women on the Verge of a Nervous Breakdown to All About My Mother and Talk to Her, Almodovar is a filmmaker worth following anywhere. There is no director alive more connected to the hearts, minds and mysteries of women than Spain’s Pedro Almodovar.