DOLOR Y GLORIA / PAIN AND GLORY
Pedro ALMODOVAR — SPAIN — 112 minutes
IN A NUTSHELL
In Pedro Almodovar’s latest and somewhat semi-autobiographical film, Antonio Banderas plays Salvador Mallo, a director who is in his decline. The film follows Mallo as reencounters his past, such as his childhood in the 1960s, his first adult love in Madrid in the 1980s, the pain of the breakup of this relationship, writing as a therapy to forget, and discovering the craft of filmmaking. (words by Bianca Garner)
CRITICAL RESPONSE
“As always, Almodóvar’s screenplay is a feat to behold. The way he structures the film is complex, with the protagonist’s thought process meandering across places and times in a kind of freewheeling reverie. Less confident or sensitive writers may feel the need to create a more substantial central “conflict” for a film that is essentially just about one man’s journey through life. It takes someone with Almodóvar’s eye and penmanship to see the extraordinary in a skipped heartbeat or a pang of regret and to communicate that with empathy, grace and suspense.” — Zhuo-Ning Su, Awards Daily
“These Fellini-esque memories are filtered through the running motif of water, which Salvador associates with the cinema from an early age. Movies, too, are one of Almodóvar’s addictions, and perhaps the ultimate painkiller. Why then do we find ourselves weeping when Alberto delivers the film’s central monologue? For audiences who’ve spent three decades or more invested in the artifice and theater of Almodóvar’s oeuvre, it’s a question of catharsis: This is the first time we’ve seen the master director’s soul so purely exposed.” — Peter Debruge, Variety
“One would qualify such a film as purely for Almodovar’s hardcore aficionados, and some critics have gone as far as to call it a masterpiece, which I will politely dismiss until I re-watch it again. Banderas’ performance is wonderful, exuding the same warmth he brought to every Almodovar he’s starred in over the last three decades, safe for maybe the bomb that was I’m So Excited. This is a meditative contemplation from an artist that went through depression and incredibly debilitating chronic pain in his life, but it feels like a patchwork nonetheless.” — Jordan Ruimy, World of Reel
PRIZE PROSPECTS
The undoubted master of Spanish cinema, Pedro Almodovar, returns to the Cannes Film Festival with an extremely warm reception. Well, of course he gets that. The filmmaker has spanned a remarkable four decade career, providing cinematic brilliance consistently, with hardly a bump in the road. That career-reflective viewpoint is just one valid reason why Almodovar is a strong contender to walk away with a prize – even before the film was seen.
Add to that the film’s auto-biographical element, as well as demonstrating Almodovar wearing his heart on his sleeve like never before. He was a recent Jury President, too. Working with Penelope Cruz and Antonio Banderas once again, there’s a nostalgic glow. Banderas himself must be a frontrunner for the Best Actor prize. The film itself is taking a prize no matter what, and just to prod even further, an Almodovar film has never won the Grand Prize, Jury Prize, or indeed the Palme d’Or. What an exhiliratingly popular win that would be. (words by Robin Write)
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