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Critics reviews

PAIN AND GLORY

Pedro Almodóvar Spain, 2019
The Baffler
As a film about filmmaking, Pain and Glory pivots on the mechanics of how screenwriting becomes cinema. Its meta-cinematic ending rivals Little Women’s but refuses to try to impress anyone watching it.
February 7, 2020
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It’s the best Almodóvar has made in 15 years, and by far his most personal to date.
November 27, 2019
What’s a little surprising is that this is [Almodóvar’s] first effort that’s often technically lazy—the signature vibrant reds are here, but the project is lacking in charge.
September 5, 2019
Pain and Glory is a film of multiple pleasures.
August 22, 2019
It’s the director’s most moving film in years, and Banderas rightfully won the male acting award.
July 1, 2019
Pedro Almodóvar’s richest work since All About My Mother.
May 31, 2019
To embark in Almodóvar/Salvador’s journey is to ricochet between memories and their random present-day resurfacing.
May 27, 2019
The New York Times
One of Almodóvar’s unqualified best in a while.
May 24, 2019
I’ve always loved the colors in Almodóvar’s movies. But it’s only after seeing his latest, the achingly beautiful Pain and Glory—playing in competition here in Cannes—that I think I finally understand the way he uses them.
May 20, 2019
It’s an exquisitely put together film, beautifully designed, much of which has lingered in my memory, but I wonder how much interest and pleasure someone unfamiliar with Almodóvar’s previous work could derive from it.
May 17, 2019
This evocative, nostalgic voyage back in time welcomes the viewer to Pain and Glory, Pedro Almodóvar’s heartrending, meditative, and deeply confessional culmination of his prolonged immersion in the waters of autofiction.
March 23, 2019