Before it has even opened to the public, the movie has already gathered a controversial pre-release vibe in the United States when a kind of furor arose a few weeks ago over the film's advertising poster which shows a nipple dripping mother's milk. America's puritanical ways play right into Almodóvar's penchant for shocking the public; this time around with a maternal image. But then again, he's been stirring the pot since the early days of the "Movida" movement in Spain, the post-Francisco Franco years when moral restrictions were lessened and liberty came back to Spain. This is the period when he came to prominence with such early amateurish "shockers" as Pepi, Lucy, Bom until he hit his stride with 1988's Women on the Verge of a Nervous Breakdown, one of the many great films in his oeuvre.
At last night's screening, Dennis Lim, director of Programming at Film at Lincoln Center, introduced the film by saying that there is a new political urgency in this film not seen before. Although this film does focus on the unresolved murders that occurred during the Spanish Civil War which led to a Fascist government in Spain that lasted into the 1970s, nearly all of Almodóvar's films shed a light on Spain's troubled past. Their sense of liberation, sexually and sociological, are a reaction to the forty-some-odd years that Spain endured under Franco's regime.
In 1997, Almodóvar released Live Flesh (Carne trémula) in which a young, pregnant prostitute during Franco's Spain (Penélope Cruz's first performance under his direction) gives birth to an illegitimate child in a Madrid bus. The film then goes forward in time to the present post-Franco Spain as we follow the child now an adult. Parallel Mothers once again casts Ms. Cruz as a pregnant photographer this time sharing her modern Madrid hospital room with a pregnant teen, newcomer Milena Smit, who is the director's latest muse, and who gives an amazing performance. It is only her second film.
The film also features some familiar faces from Almodóvar's past. Rossy De Palma, a stalwart in the director's list of films, received applause when she first appeared. Likewise, the audience also recognized the likes of Julieta Serrano, who is also an Almodóvar favorite going back to the days of Women/Breakdown.
The film was shot in the expected vivid, colorful palette of José Luis Alcaine, the director's longtime working cinematographer.
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