After her son Esteban is killed in an accident, Manuela reads in his notebook, which he always carried with him: “Last night mom showed me a photograph. It was ripped in half. I feel like my life is missing that same half.” He is referring to his father. Manuela never told him who he was, it was difficult to explain to a teenage son that his father has bigger breasts than she, and that he answers to the name of Lola. That silence weighs on her conscience like a crime. She decides to go to Barcelona in search of Lola, to tell him that they had a son, and that he is dead. The search for a man with such a name cannot be easy, and in fact it isn’t. ―Cannes Film Festival
Splashing his colorful films across the dour post-Franco Spanish landscape with the irreverent glee of a prostitute arriving late to church after a long night, Pedro Almodóvar has been called the most influential Spanish filmmaker since Luis Buñuel. Beginning in the 1980s, Almodóvar started serving up provocative, candy-colored visions fraught with postmodernist insight into everything from sex and violence to religion and the dangers of good gazpacho. Sometimes shocking, sometimes controversial, Almodóvar’s films have always managed to present a new and intriguing view of his native country, shaping the attitudes of both his compatriots and a larger international audience.
Born September 25, 1951, in Calzada de Calatrava, an impoverished hamlet of La Mancha, Almodóvar was raised in a traditional Spanish household. He studied with Salesian monks, sang in the choir, and generally felt like a misfit; he was later to remark that, for him, growing up in such an environment was tantamount… read more
When it comes to Pedro Almodovar, the results is always hit and miss. Sometimes, his story seems just like another soap opera, done by a far better talent, but still, a soap opera…but when the proportion… read review