Pedro Almodovar
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“Another Guy, Another Wig,” Alessandro Nivola Returns to Talk about Almodóvar, The Brutalist, and The Rhino: Back To One, Episode 322
Alessandro Nivola returns to the podcast (Ep. 37 and Ep.170) to discuss three performances he gives in three different films out at the same time this week—Pedro Almodóvar’s The Room Next Door, The Brutalist, and Kraven The Hunter. He gifts us with a detailed peek into what it took to build each of these characters. He talks about the interesting way he received a “green light” from Almodóvar in terms of his approach to the role of an Upstate New York policeman, the challenge of balancing adherence to period authenticity with a modern accessibly as Attila in Brady Corbet’s epic, […]
by Peter Rinaldi on Dec 18, 2024 -
Talking About the Movies: Sigrid Nunez at the Cinema
When author Sigrid Nunez tells people that two of her recent novels, The Friend and What Are You Going Through, have been adapted into films, she’s amused by their inevitable reactions. “They say very somberly, ‘Are they faithful to the book? Have [you] been insulted?’” “It’s charming because it’s so naive,” she laughs. “You’d never want a transcription!” For a novelist who’s been publishing since 1995, that two strong adaptations suddenly exist—both auteurist affairs retaining their novels’ concerns and essential architecture—is quite remarkable. Scott McGehee and David Siegel’s The Friend is a warm, witty adaptation of Nunez’s 2018 National Book […]
by Scott Macaulay on Dec 16, 2024 -
Trailer Watch: Pedro Almodóvar’s Strange Way of Life
With the Cannes Film Festival fast approaching, the first trailer has arrived for Strange Way of Life, Pedro Almodóvar‘s latest to premiere on the Croisette. The Saint Laurent-backed, 30-minute short film stars Ethan Hawke and Pedro Pascal as two men who reconnect after many years apart. This is Almodóvar’s second English-language effort, the first being the 2020 short film The Human Voice starring Tilda Swinton. The film’s official synopsis reads: A man rides a horse across the desert that separates him from Bitter Creek. He comes to visit Sheriff Jake. Twenty-five years earlier, both the sheriff and Silva, the rancher who […]
by Filmmaker Staff on Apr 26, 2023 -
Venice Film Festival 2021 Critic’s Notebook: Parallel Mothers, Il Buco and The Cathedral
In a tender moment in Pedro Almodóvar’s Parallel Mothers, the opener of this year’s Venice Film Festival, the older of the eponymous mothers teaches the other how to peel potatoes while wearing a t-shirt that says “We Should All Be Feminists.” Since Janis (Penélope Cruz) is at the cusp of middle age, whereas Ana (Milena Smit) has only just turned 18, there’s a suggestion of baton-passing in this Jeanne Dielman reference. One wonders, then, what Chantal Akerman might have thought of the scene in which Ana relates, with a casualness pitched ambiguously between PTSD and nonchalance, that her pregnancy was […]
by Giovanni Marchini Camia on Sep 5, 2021 -
Almodovar’s Lockdown, J.G. Ballard’s World, Aphex Twin, Hal Willner and Spin-Off Podcasts: 4/8/2020 Links
Are you looking for a trusted, socially-distanced source to provide you with semi-regular cultural recommendation links during this time of pandemic? Okay, well, I’m not really either. My inbox too is full of check-ins and missives from journalists and curators seeking to maintain a digital relationship by supplying Netflix watchlists and the like during this awful interregnum. So consider these posts as much an activity for me as you as I revive this column by highlighting a few things that may provide some degree of interest, empathy or wisdom. Some things to shift your attention away from the cable news […]
by Scott Macaulay on Apr 8, 2020 -
“Cinema Perfects Life”: Pedro Almodóvar on Rewatching His Films, Using Latin American Music, and Fighting Against Penélope Cruz’s Tears
Notwithstanding the many awards seasons and release campaigns he’s endured in the United States, the manufactured climate of hotels and restaurants in Los Angeles still makes Spanish cinema idol Pedro Almodóvar uncomfortable. “Everywhere we go here is freezing,” he says as he sits down to talk and scrambles to find something warm to cover himself with. It’s as if the coldness of these spaces he’s walked repeatedly over the years brings a sensory memory, one that he should have anticipated but still surprises him. Like so, we’ve come to expect a colorful aesthetic brand and tonal irreverence from an Almodóvar […]
by Carlos Aguilar on Nov 11, 2019 -
TIFF 2019, Day 1: Parasite, Portrait of a Lady on Fire, Pain and Glory, The Report
For P&I-accredited attendees without the scratch to make it to Berlin/Cannes/Venice (let alone Telluride, with its $780 cost of press entry), day one of TIFF is traditionally a marathon catch-up march through their biggest titles, often scheduled in competing Sophie’s choice slots, with the big-name world premiere titles coming later. All this year’s Cannes main slate awardees are in the program minus two (the pointed omissions are Jessica Hausner’s Little Joe and the Dardennes’ Young Ahmed). This year’s Palme d’Or went to Bong Joon-ho’s Parasite, which is fine by me: he certainly deserves some kind of significant honorific at this point. Bong’s career […]
by Vadim Rizov on Sep 5, 2019 -
Political Correctness, Gautier and the Politics of Gay Cinema: Pedro Almodovar Discusses Kika
The following interview of Pedro Almodovar about his film Kika appeared in our Spring, 1994 issue. It is being reprinted here online for the first time. In addition to pumping (very bright red) new blood into Spanish film after Franco’s death, Pedro Almodovar has also blazed the path for a camp style that has been followed around the world. Mixing together high fashion, television melodrama, comic strips, and street corner pornography, Almodovar has spun off stories as tangled and absurd as they are have been uncannily close in capturing a particular moment of Spanish history. Now on the way to […]
by Peter Bowen on Jul 6, 2019 -
“I Make Fiction Films Because I Like Representation”: Director Pedro Almodovar On All About My Mother
From Filmmaker‘s archives, and online for the first time, here is our interview with Pedro Almodovar about All About My Mother as well as many other things, including Tennessee Williams, rejecting primary colors and the difficulties, sometimes, of being “Almodovar.” This piece originally ran in our Fall, 1999 issue. “Mainly women,” says Leo, the desperate, devastated, lovelorn romance writer played by Marisa Paredes in Pedro Almodovar’s eleventh feature film, The Flower of My Secret. “Adventurous, suicidal lunatics.” He might as well be talking about the characters found in Almodovar’s films, for his is a body of work dominated by actresses, […]
by Adam Pincus on Jul 6, 2019 -
TIFF Critic’s Notebook 1: Neruda, Toni Erdmann, Julieta
Pablo Larraín really and seriously screws up for the first time with Neruda. Few saw or recall the existence of his debut, 2006’s Fuga, which received a middling response on the festival circuit; I seem to recall interviews around the time of 2008’s amusingly appalling (and vice-versa) reputation-establisher Tony Manero where Larraín said Fuga‘s indifferent reception prompted him to rethink a rather conventional aesthetic and come up with something inescapably different. Each film since his coming-out has, in variously scabrous ways, dealt with Pinochet’s legacy: Manero and Post Mortem taking place at the moment of his coup, the late-’80s-set No a crowdpleasingly cynical comedy re: the political machinations around the dictator’s removal via referendum. Jumping to the present, The […]
by Vadim Rizov on Sep 8, 2016
