The power of memory, the power of imagination. Almodóvar's new film celebrates triumph in Cannes
All Almodóvar's films without exception, despite religious vulgarity, baroque form, violation of taboos and explicit exhibitionism, are innocent in their own way. However, in & nbsp; "Pain and & nbsp; splendor", his first openly autobiographical picture, the Spanish director passes himself. Touches the more sensitive string. He appears to be a tormented sage, unfortunately a lonely romantic trying to heal complexes.
"Pain and & nbsp; glow" is an almost classic melodrama about the artist's sad soul on the verge of a nervous breakdown. Almodóvar smoothes it with & nbsp; him and & nbsp; idealizes his image of an intimate scandalist. Maybe it is a matter of age - it will soon turn 70 - typical of aging nostalgia for men, a more gentle look at the surrounding world and themselves?
The film is advertised as a sincerely painful account of & nbsp; difficult childhood, loved ones, movida and & nbsp; delicately letting creative impotence know about it. There are no anti-clerical threads, perversions, chills, or iconoclastic shocks. There is a lot of poetry, beautiful pastel colors radiating from the province of Ciudad Real in the heart of La Mancha, silence, authentic props borrowed from the family home, the presence of a beloved mother, reflective scenes, the main theme of which seems to be time passing by. Almodóvar becomes someone here in the modern kind of Proust, Bergman or Fellini with "8" and "half" - a classic that creates in the eyes of surprised viewers the mythology of its own journey in the search for the constantly recalled and recollected past.
In a delicate neurotic costume, the director reveals himself more than ever before. The mirror w & nbsp; tries to sketch his self portrait is desire and nostalgia. This particular: to old lovers, family sites, especially to the mother. I & nbsp; metaphysical: for lived paintings, reading, and creativity. He gets a very personal tone. It also has distance. And & nbsp; although it appears on the screen under the fictitious name of Salvador Mallo, with & nbsp; each shot and & nbsp; sentences pierce authenticity and & nbsp; honesty.
At the same time, it is the clearest film in Almodóvar's nearly 40 years of career. "Pain and & nbsp; glow" retains the characteristic non-linear dramaturgy of intimate confession anchored in & nbsp; somebody else's, half-fairy tale story. The contradictory characters - as in the case of the Spaniard - complement each other strangely, the characters refer to unknown reality, but the impression of disturbance or disturbance of the rhythm and the direction of the narrative is not. The digressions do not destroy the exceptional clarity of the image focused on the summary of Almodóvar's innocent love, played with & nbsp; high sensitivity and & nbsp; restraint by Antonio Banderas.
Everything here revolves around suffering that remembers the past moments of a once-fermenting, rebellious artist, unable to deal with & nbsp; physical pain and an avalanche of ailments that are shamelessly mentioned at the very beginning of the film. Back pain, tinnitus, migraine, insomnia, depression, and lots of other troublesome illnesses signal more than just the bad health of the hero, the legend of the Spanish counterculture.
Salvador Mallo's main problem seems to be his guilt. After 30 years of postmodern rebellion, crossing borders and eternal provocation in the end, he is overcome by a midlife crisis. The pretext for telling memories and cleaning the soul becomes the show of a restored copy of his debut film. Mallo, a recluse and & nbsp; loner, although he reacts badly to fame, he hates excessive media interest and is reluctant to acknowledge that in the meantime he has grown into a cinema giant, he is not willing to meet the audience. I & nbsp; in the presence of an actor who has not been seen for three decades must tell why he was not satisfied with his play at the time. He knows that he will humiliate him again, so he finds a way not to.
Wondering how to calm emotions, accept yourself, heal relationships, redeem blame, uses, among others with drug help. A & nbsp; then, on various occasions, he remembers his childhood spent in Catholic schools, inquires why he did not meet the expectations of his mother, with whom he was very connected (Penelope Cruz played beautifully). Accounts for & nbsp; the first love crush followed by an unusual testimony - a miniature painted on a cement bag, a masterpiece created by the hand of an illiterate. He meets with his former lover, currently a divorcee, and the father of two adult sons.
Subtle in old age, Almodóvar has given us all not only a wonderful guide about himself and his life. "Pain and & nbsp; glow" is a cataractic story about forgiveness and taming existential fear. The story of liberation through art and passion for creation, thanks to which we manage to overcome psychological trauma to some extent, break out of time, limiting space. Gain true wisdom and maturity.
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