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.
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.
Emouvant et radical à la fois, le superbe dernier film de Pedro Almodovar, fort mal apprécié par les cotonneux et moralistes milieux traditionnalistes hispaniques, mérite toute notre considération pour l'évidente maîtrise cinématographique qui se dégage de cette oeuvre teintée d'une fugace sérénité... www.cinefiches.com
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.