A girl’s mother returns after 15 years to find her daughter has married one of her (the mother’s) old boyfriends. They try to mend their broken mother/daughter relationship and deal with their common lover. –IMDb
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
September (Allen), Autumn Sonata (Bergman) and High Heels feels connected to each other in their way to describing the relationship between mother and daugther and I love these three films and the actresses that plays them (Mia Farrow, Elaine Stritch) (Liv Ullmann, Ingrid Bergman) (Victoria Abril, Marisa Paredes) though I feel more sympathy for the daughters, I also feel sorry for the mothers.