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Spanish drama
Director:
Pedro Almodovar
Actors:
Penélope Cruz, Milena Smit, Rossy de Palma, Israel Elejalde, Aitana Sánchez-Gijón
Premieredata:
18. mars 2022
Age limit:
12 years
original title:
parallel mothers
«Strong women end up in a dead end.»
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“Parallel mothers” is the story of women as bearers of the national heritage, while trying to shape the present to shape the future. In Almodóvar’s latest film, we find the story of two women who become known in the delivery room, both of whom became pregnant by accident. One, Janis (Penélope Cruz) is a photographer who is looking forward to having children, pregnant after having a flirtation with the married archaeologist Arturo (Israel Elejalde). Janis wants Arturo to lead the excavation of the mass grave where her great-grandfather’s remains are. The hope is that it can shed light on the brutalities of the Spanish Civil War in the 1930s.
The other woman is Ana (Milena Smit), a gang-raped teenager with a single mother who is still trying to break through as an actress.
A shock
Despite differing views, the women establish a friendly bond in the delivery room, and they keep in touch while the joy and worry of being a new mother grows in parallel.
At least until Janis finds out that she has brought Ana’s daughter home, and that her own daughter is most likely with Ana, something Ana does not know. This is understandably a shock.
It gets worse when Janis learns that her biological daughter is dying in stillbirth. But instead of telling Ana the truth and the exchange of children, Janis begins a relationship with the much younger woman.
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Aesthetically, narratively and historically, this is close to Almodóvar’s earlier works. All scenes are supposedly filmed in chronological order for the actors to develop in step with the trials the characters are subjected to. It is rare to see anything other than two shots and close-ups of the actors, and when the game is so good, there is no need for flashy overview photos. We must be with the women at all times.
MOTHER ROLE: In Pedro Almodóvar’s latest film, the mothers – played by Milena Smit and Penélope Cruz – take the lead in the story of themselves and the Spaniards’ dark past. Photo: Ymer Media
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Oscar nominated
Regardless of Cruz’s solid efforts, one will remember the film for, she is then also nominated for an Oscar for her efforts. It’s easy for younger, inexperienced actors to fade when they play against big stars, but fresh Smit is a bit of a find. It is applauding to see how she, as the naive teenager, eventually catches up with what in her eyes is the perfect woman.
But the film ends up in some important parts without drive, which is largely due to the political aspect of the film. Jani’s goal of digging up the mass grave is understated, almost feeling pushed in. The film could have been better out there, so the focus remained on the melodrama. This line is first and foremost for Janis to go through the great moral dilemma of shedding light on dictator Franco’s reign of terror, while she does not dare to tell about her own betrayal. One still sits and hopes that Almodóvar has an ace up his sleeve, only to see that the good cards had long since been played away.
Get friction
It would have created greater tension if the mothers’ stories before the death of the child could have entered into each other in a more intricate way. Especially Ana’s thread of action remains clichéd and unredeemed. Therefore, the frictions are also surprisingly few in a film that at times appears contrived.
Almodóvar has nevertheless managed to make another film about the woman being much more than just the gender that gives birth. Had he tightened up a bit more, he would certainly have managed to tell it as well as in his other films.
Someone forgot to say “cut”
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