Los abrazos rotos
Abrazos rotos, Los (2009)
★★★ / ★★★★
“Los abrazos rotos” or “Broken Embraces,” written and directed by Pedro Almodóvar, was about a blind writer named Harry Caine (Lluís Homar) who began to tell a story about a love affair he had in the 1990s with a beautiful actress (Penélope Cruz) to the son (Tamar Novas) of his agent/manager (Blanca Portillo). The affair was riddled with sneaking around, feigning emotions, and spying because the actress had a boyfriend (José Luis Gómez) who eventually became aware of the situation with the help of his gay son (Rubén Ochandiano) who had a penchant for the videocamera. When I dive into an Almodóvar picture, I expect melodrama, complex storytelling, interesting use of camera angles, vibrant colors, and passionate characters. On that level, I strongly believe that the film delivered. However, it didn’t quite exceed my expectations. I think this is the kind of film that requires multiple viewing on my part because there were times in the picture where I found myself confused with what was happening (notably the middle portion). Although it eventually started coming together toward the end because certain characters stopped holding onto their secrets, it didn’t change the fact that I had to take myself out of the experience for several seconds to figure out where everybody else stood. That lack of flow was the main reason why I didn’t quite love “Broken Embraces.” I admired that this film strived not to fit into one genre. Sometimes it was comedic, sometimes gloomy but there were times when it was thrilling; the director’s use of shadows and the way he used the build-up of tension were very noir-like (particularly the stairs scene–a definite stand-out) and almost Hitchcockian. “Broken Embraces” was teeming with ideas. If the director made a film from each genre he tackled, I’d be interested in watching them as well. I was fascinated with how the characters became so engulfed in their passions to the point where they weren’t even aware that they were ultimately hurting themselves. I couldn’t help but get into the lives of the characters because each of them had passion in their eyes and the way they expressed themselves via body movements. Each of them had a purpose and none of them was a simply caricature. I could feel Almodóvar’s passion for filmmaking in every frame. I just wished that he made sure that the audiences could follow his vision without a significant amount of mental acrobatics because there was already a lot going on.
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