37/23
They both had Julianne Moore in mind
Ingrid and Marta were close friends in their youth, when they worked together at the same magazine. After years of not speaking, they meet again in an extreme but strangely sweet situation. When Pedro Almodovar sent the script to Tilda Swinton, he asked who should play Ingrid. Featured on The 7PM Project: Episode Dated September 8, 2024 (2024). Seeing an Almodovar film in English is a bit strange.
It’s beautiful, it’s moving, it’s significant
This is such an important Spanish director that the lack of Spanish (apart from one brief sentence) seems to take away an essential element of the film. But even in English, Almodovar remains Almodovar, just as Woody Allen remained Woody Allen in his French film. In my opinion, this is one of his best films. Few films combine these three qualities. It seems that with each new film he directs, he gets closer to the purest cinematic production.
Far from it
In this case, it is the story of two friends who have to deal with death. Marta is dying of cancer and wants euthanasia, Ingrid is an old friend who is afraid of death but still agrees to accompany Marta in her last days. It sounds like a very depressing film. Let me assure you: it is not. There are many more joyful moments than sad ones.
His sets, as always, are meticulously designed
Even Marta embraces life in her last moments, because she wants to spend them in an incredibly luxurious villa in the forest. Almodovar once again creates a world of beauty, full of color and aesthetics. But this is also a very moving film that shows how valuable a good friendship can be and how respect and dignity, even in the face of death, are essential values. Almodovar includes many references in his film. Martha and Ingrid watch films by Buster Keaton and John Huston and go to a cinema where a Rossellini film is being shown.
The difference: Almodóvar adds Spanish warmth and color
But the most obvious influence, I think, is Ingmar Bergman. Not only does the story recall Bergman’s personality, but the film has a Bergmanian feel to it. Like many of Bergman’s films, it relies heavily on dialogue, addresses themes such as death and religion, and has a limited number of characters.
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