Hitchcockian thriller about the lingering emotional scars of two men who were sexually abused by their Catholic priest as children. The two men meet again years later when one of them has announced he’s directing a feature film about the abuse.
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Such a metamodernist approach to filmmaking! It isn't an Almodovar film without the characters interweaving each other's stories. I don't understand why anyone would rate this anything lower than 3 stars with its complexity and stylisticly twisted narrative. A must-see queer film!
One of Almodovar's most rigorous films: stories within stories, identities within identities. Often times, it's hard to discern a point in his endings other than the points along the way: a genuine love of outsiders, a lust for life, and an even greater lust for fiction. This one is about how tangling the last two can get downright dangerous, and his abiding theme is the strange routes that life takes.
Where the Almodovar confidence in constructing an assured sheen over a patchwork of less convincing elements shows. The mechanics of parallel, then overlapping 'realities', are more interesting than the familiar themes of identity and abuse of power. There's a sense of treading water here, but never less than vividly poised; although the idiomatic flourishes of vernacular Spanish are lost to this non-fluent speaker.
I'm in the minority, but I hated this film. Almodovar is a fine director whose work I often love and sometimes hate. Bad Education bored me. I found it to be claustrophobic, and I didn't like any of the characters enough to spend 2 hours with them. The acting was great, and I did want to know how it ended, but when all was said and done I would've preferred to have spent my time some other way.
This one really does have a twisty nature worthy of Hitchcock. That aside, the outright audaciousness of lengths characters will go to get what they want is the best thing about this film. Sadly, however, Enrique doesn't serve as much more than a framing POV for the audience. His distinctive characterization is essentially lost in Ignacio (whose backstory's iffy), funny enough. But the film's engaging, overall.