Parallel Mothers
When we go to see a film by Pedro Almodovar we are always prepared to enjoy a piece in which the aesthetics are taken care of down to the smallest details; “Parallel Mothers” is no exception, the selection of colors, the pieces on the tables, the fruits, the flavor of the ice creams that the actors eat, the paintings that decorate the rooms and, of course, the fantastic costumes.
We also expect fluid and ingenious dialogues from Almodovar, which in “Parallel Mothers” are enhanced with a fascinating handling of tones and communication devices. A dialogue is never dislocated from the character, we always have that feeling of surprise and, at the same time, of familiarity; Almodovar’s characters are there as a kind of avatars of us.
Another thing we always expect from Almodovar is humor, but not easy humor, but painful humor, the kind that turns scenes into mirrors of ourselves. In Almodovar’s films we laugh at what we see and then understand that we are laughing at ourselves.
However, something I did not expect when I went into the cinema yesterday to see “Parallel Mothers”, is that the theme of strangers giving birth at the same moment was going to connect so strongly with the history of a country. He does not expect to see that the way in which technology allows us to fill in the gaps in our knowledge can be a metaphor for the way in which we contact and…
