Der homosexuelle Regisseur Pablo konsumiert ohne Unterlass schöne Männer, um seine unglückliche Liebe zu Juan zu vergessen. Bis zu dem Tag, an dem er auf Antonio trifft. Dessen unbändige Leidenschaft für Pablo kombiniert mit einer rasenden Eifersucht stellt sich als folgenschwer heraus.
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80s Pedro! And from what I've read, the first of his films to take Queerness as its subject. His approach to drama is always a bit loopy, less like a 3-act classic and more like the world's smartest, most aesthetically pleasing string of soap opera episodes. Moment that brings it together: the hero throwing his typewriter—a device that tangled his art and his sex life—out the window in a glorious explosion.
Beautiful film. It had that experimental side that all youths do share whilst the youngster self is king. I like it how he did experiment with his medium, whilst being innovative, marketable and a über-author at that. I'm glad my sunny peninsula has such a living genius that is known abroad. Other than Europa. That even "the academy" can and does respect to the point of awarding such a prize as...great film!
I do love me some queer melodrama, and Almodovar pulled it off splendidly, with a fresh take, and without killing, as I dreaded, the transwoman. Funny, sweet, and entertaining. Did not expect the ending.
That which was established in Matador was further developed with this film. This one goes a bit harder down the soap opera road than the thriller road. Loaded with style, it would take a while before he reached full mastery in the late 1990s and early 2000s.
Somehow lacks the charm of Almodóvar's other films. I felt the story took quite a while to get there. It's not as funny, but there is enough melodrama. So in a way, it's not a comedy, nor a drama, nor a thriller. It is definitely very sexy, but there is not much else to the main story. I felt Maura's subplot was far more interesting, and more could have been done with her story. Overall, good, but not great.