volver analysis

Throw in neighbor Augustina (Blanca Portillo), who’s dying of cancer but not before she adds a new twist. In La Mancha, their Aunt Paula has died. With a string of masterworks stretching from Women on the Verge of a Nervous Breakdown to All About My Mother and Talk to Her, Almodovar is a filmmaker worth following anywhere.

Volver is Almodovar’s passionate tribute to the community of women — living and dead — who nurtured him.

At times Volver seems to channel Rainer Werner Fassbinder, with whom Almodóvar shares a love of Hollywood melodrama.

Feminine solidarity in Volver » Urgent anyone doing spanish a level please help » Edexcel Spanish A Level Unit 4 - 22nd June » Anyone doing spanish a level yr 13 pls » La Casa Bernarda Alba Study Help! She works two jobs, menial ones, her hair teased into a bombshell of floor-scrubbing chic, and it soon becomes clear that she’s the matriarch of a broken family. Almodovar keeps his movie as intimate as a whisper that makes us lean in to uncover its dark secrets.

Plot is merely Almodovar’s way into the souls of his women. If there’s an ambivalence to the film’s thematic focus, what’s not in doubt is that Volver is a prodigiously well-made movie, though not always in the ways you’d expect.

It means coming back, so how is Volver so fresh, so inventive, so utterly alive with the joys of cinema? She sits apart from them, but the scene is deep staged so she stays in focus, legs slung lazily over a chair; cavalier, innocent, provocative. Critics have esteemed Volver a more mature, if lesser film, and therein lies its seductive charm – it is an impossible hybrid, (in the words of at least one observer) an epic comedy. Sole will be visited by this spirit – a bump in the night from the inside of her boot – who has unfinished business to set straight, but Raimunda has other concerns: her husband has made a mess of the kitchen and there’s serious mopping to be done. Paco later masturbates when his wife rejects his sexual advances (and this on the same day Paco has been fired from yet another job). The night before, Paco pauses in the doorway to watch his daughter disrobe. Volver is a film cut like glass.

It means ‘coming back’ in English. Other villagers soon claim to have seen Irene’s ghost.

Written by Carmen Herrero. It means coming back to La Mancha, to comedy, to religion, relationships and sex. This is the land of the dead, where women tend their gravestones like a doorstep and death is a threshold kept as spotless as any other. A knife in the chest isn’t your average family crisis, but attempting to rape your daughter isn’t the average display of fatherly affection.

How the dead, memories of them, and the deads’ own memories intertwine is all important, and is wickedly lampooned in the memorable opening scene, of an army of women villagers cleaning and polishing headstones in the local necropolis-like cemetery, as if pantomiming a Roman orgy. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. Deftly and with deceptive simplicity, Volver begins as a retelling of Mildred Pierce.

They cook and cluck and kiss and, as the occasion demands, they kill.

Where Madrid is a city without character, its faceless sprawl and dusty car parks glimpsed through the windows of drab houses, La Mancha is an icon of deep Spain.

Of Raimonda’s home village it is well-known that the men die young and the women live long. An all-too-rare cocktail of cinematic know-how and genuinely touching human drama.

By turns shocking, serene, darkly funny and ruthlessly true.

Another plot line begins when Raimunda’s mother, Irene (Carmen Maura), or rather her ghost, returns upon the death of her own sister Paula (Chus Lampreave) to their impoverished pueblo in La Mancha. It means coming back … It’s as canny a movie as you’ll ever see, a film that chatters in your ear with craftiness, but it’s so beautifully made, so delicately poised between art and artfulness that it achieves a naturalness – a grace that gives its zigzagging emotional cadences an easy rhythm.

She’s that good. WJEC A2 Film Studies: Volver can be studied in relation to the small-scale research project in FS4, Film: Making Meaning 2 and in FS5, World Cinema, alongside focus film All About My Mother or earlier Almodóvar films from the ‘new Spanish Cinema’ of the 1980s. She’s a towering, terrifying monument to femininity, an effortless multitasker who shops and cooks and digs unmarked graves while breaking only the most serene of sweats. In a rare intrusion, they stare out of the screen like a herd of ostriches, or a gaggle of schoolboys caught in some guilty act.

LWLies Recommends, Review by Matt Bochenski

At least Paco is distinguished by a name, though he’s hardly a flag carrier for the brotherhood.

Poor, hard-working Raimunda (Pénelope Cruz) is married to an unemployed laborer named Paco (Antonio de la Torre), who may or may not be the father of their daughter Paula (Yohana Cobo). © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC.

If you wondered about her then, if you carelessly imagined, should you see yourself in Paco’s lip-smacking look? When Raimunda is around, ghost mom hides under a bed, coming out to help only when Raimunda’s teen daughter Paula (Yohana Cobo) claims to have stabbed Raimunda’s husband, Paco (Antonio de la Torre), when he tried to rape her.

You do not want to miss this one.

An all-too-rare cocktail of cinematic know-how and genuinely touching human drama.

Agustina sets off on a quest to learn the secrets of the dead, and may face a showdown on a nationally broadcast trash TV talk show. Raimunda’s sister, Sole (Lola Dueñas), runs an illegal salon from the flat where she lives alone, abandoned by her husband two years before. When Raimunda comes home from work to find her daughter has stabbed Paco to death, mother quickly invents an alibi to protect her daughter, and assumes the guilt herself.

An introduction to the flamboyant world of Pedro Almodvar; including exercises for use in class and ideas for research topics. In Volver (“return”), a movie that leaps off the screen to take its place in your dreams, the writer-director tells a ghost story that manages to include lust, incest, rape and murder. At the funeral, where the whole village has gathered (a coven of black-clad battle axes flapping fans and fat dry lips at Sole), there are rumours that their mother, Irene, reappeared to Paula as a ghost to help her through the last few months of her life. I have said goodbye to something which I had not yet said goodbye, and needed to.”.

Recommended for students and teachers of A Level Spanish. What hypocrisy to say, “Don’t complicate other people’s lives,” to Agustina, after paying a hooker to help her bury her husband.

Almodóvar has said that he brandishes actors like weapons; well if that’s so, Penélope Cruz is his nuclear button.

A neighbour, Agustina, has heard her voice. This time, keeping a keen eye on the set design in search of a signature piece, it was clear what I remembered so vividly about the style of the film and it was the use of red. You’ll laugh, too — wildly, helplessly — because to Almodovar, laughter is life.

In Conversation. Variations of bright reds saturate the screen, over and over, drawing attention to the also lush cinematography of José Luis Alcaine.


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