list http://www.spout.com/ Recent community activity around All About My Mother on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/All_About_My_Mother/133959/default.aspx Title: All About My Mother
Year: 1999
Director: Pedro Almodóvar
Plot: Pedro Almodovar directed this story of a woman and her circle of friends who find themselves suffering a variety of emotional crises. Manuela (Cecilia Roth) is a single mother who has raised her son Esteban (Eloy Azorin) to adulthood on her own and has come to emotionally depend on him. One night, Manuela and Esteban take in a production of A Streetcar Named Desire; after the show, Esteban is struck and killed by a passing motorist as he dashes into the street to get an autograph from Huma Rojo (Marisa Paredes), who played Blanche. Emotionally devastated, Manuela relocates to Barcelona in hopes of finding her ex-husband (and Esteban's father), who is now working as a female impersonator. Manuela becomes reacquainted with old friend La Agrado (Antonia San Juan), a transexual, and is introduced to Sister Rosa (Penelope Cruz), a good-hearted nun who has to contend with her considerably more cynical mother (Rosa Maria Sarda). While looking for work, Manuela becomes acquainted with Huma Rojo. Huma, on the other hand, has troubles of her own, most involving her drug-addicted significant other, Nina (Candela Pena). Displaying Almodovar's trademark visual style and a unusually strong sense of character-driven drama, Todo Sobre Mi Madre/All About My Mother received a highly anticipated theatrical run in Spain before winning the Best Director award at the 1999 Cannes Film Festival; in 2000, Almodovar would recieve the Academy Award for Best Foreign Language Film. ~ Mark Deming, All Movie Guide
Times Tagged: 30
Number of Lists: 27
Number of blog posts: 4
Number of discussion threads: 2
SpoutRating: 4
]]>Tue, 07 Jul 2009 20:47:34 GMTAll About My Mother1999Pedro AlmodóvarPedro Almodovar directed this story of a woman and her circle of friends who find themselves suffering a variety of emotional crises. Manuela (<a href="/players/P____61744/default.aspx" style='text-decoration:underline'>Cecilia Roth</a>) is a single mother who has raised her son Esteban (Eloy Azorin) to adulthood on her own and has come to emotionally depend on him. One night, Manuela and Esteban take in a production of A Streetcar Named Desire; after the show, Esteban is struck and killed by a passing motorist as he dashes into the street to get an autograph from Huma Rojo (<a href="/players/P____54999/default.aspx" style='text-decoration:underline'>Marisa Paredes</a>), who played Blanche. Emotionally devastated, Manuela relocates to Barcelona in hopes of finding her ex-husband (and Esteban's father), who is now working as a female impersonator. Manuela becomes reacquainted with old friend La Agrado (Antonia San Juan), a transexual, and is introduced to Sister Rosa (Penelope Cruz), a good-hearted nun who has to contend with her considerably more cynical mother (Rosa Maria Sarda). While looking for work, Manuela becomes acquainted with Huma Rojo. Huma, on the other hand, has troubles of her own, most involving her drug-addicted significant other, Nina (Candela Pena). Displaying Almodovar's trademark visual style and a unusually strong sense of character-driven drama, Todo Sobre Mi Madre/All About My Mother received a highly anticipated theatrical run in Spain before winning the Best Director award at the 1999 Cannes Film Festival; in 2000, Almodovar would recieve the Academy Award for Best Foreign Language Film. ~ Mark Deming, All Movie Guide30Tag Target (>10)27424http://www.spout.com/ProductImages/t89800rso81.jpghttp://www.spout.com/films/All_About_My_Mother/133959/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/9/19/35323.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/19/2008 5:01:43 PM
Body: Sometimes I really wish David Bordwell’s blog permitted comments. Mostly it’s better that it doesn’t, but the man’s last post has made me want to discuss the art of movie titles for a whole week now. And it didn’t help that coinciding in time with Bordwell’s post was another one of those sidebars in Entertainment Weekly pointing out some new movies with misleading titles. Yes, Lakeview Terrace does sound like a period romance, as do many other badly titled films (Elizabethtown and Wicker Park come to mind). This weekend also sees two new movies employing the method of borrowing song titles, which are typically not appropriate (Ghost Town seems more like a horror western hybrid, while My Best Friend’s Girl actually fits its plot). Well, fortunately for me (and hopefully you), I can bring the discussion over to SpoutBlog, though not quite as in depth as Bordwell. I’ll be more than happy to have a conversation in the comments section regarding the more general topic of movie titling, but for now I’ll kick things off with a list of what I find to be the most interesting movie titles of the past decade. It’s been a time when studios and filmmakers have been very loose with ill-fitting and overlong titles, as well as some that are too plainly literal (Snakes on a Plane), but the following selections have the benefit of featuring clever, well-chosen and more meaningful monikers. All About My Mother (Todo sobre mi madre) (1999) This Pedro Almodóvar film has a very telling title, one that goes along with Bordwell’s acknowledgment of titles that speak for the character. Yet the character spoken for here is Esteban, the kid who dies in the beginning. Or does he? The title actually refers to a story Esteban has written for school and is inspired by the film All About Eve, which he has just watched. Esteban doesn’t so much die in the film as he does in his own story, which is depicted within the film. Also, the word “Mother” in the title doesn’t so much refer to his actual mother, Manuela, as it does his (made-up) transvestite “father”, Lola, who we learn all about. Amores Perros (2000) Although improperly translated as “Love’s a Bitch,” that phrase does at least apply on some level to Alejandro González Iñárritu’s film. As does the more acceptable translation of “Love is Dogs,” which references the film’s canine companions, each of which parallels its owner. But there is also another translation that’s more like “Goodness Wretchedness,” referring to a phrase on the film’s website that basically translates as “If your story turned out well, put it down to ‘amores.’ If bad, put it to ‘perros.’” The fact that you can interpret the meaning of the title multiple ways, and therefore you can interpret its meaning to the film multiple ways, is the reason that it was so important to release the film in the U.S. with its original Mexican title. The Perfect Storm (2000) Although the title comes from Sebastian Junger’s book, the name took on a whole new meaning for the film, which is, in my opinion, completely about the attempt to perfectly create a storm on a computer. Sure, there’s a plot within the film, too, but nothing more attended to than the perfectly rendered storm. In fact, the film’s storm may have been too perfect-looking, as the film lost the Visual Effects Oscar to Gladiator. While the title was clearly not intended for such purpose, and I had planned to ignore titles that inadvertently become more ironically meaningful upon release (Expelled: No Intelligence Allowed; Disaster Movie), I think the filmmakers at least meant to produce a spectacular storm more than a good story, so I believe it more qualifiable for the list at hand. Shanghai Noon (2000) This title doesn’t necessarily add anything to the meaning of the film nor does it really have multiple layers of meaning by itself. But it features the most cleverly punned title of the last ten years, in my opinion. The sequel’s title, Shanghai Knights, isn’t too bad, either. But just as the movie isn’t nearly as good as the original, neither is the title. Adaptation (2002) This title may actually be my favorite of all time due to its consisting of only a single word, which can be lent to the film in a multitude of ways. The title refers to the adaptation of a book to a film, the adaptation of a plant to its environment, the adaptation of a screenwriter character to his assignment, the adaptation of the same character to the events of his environment and, finally, the adaptation of the film itself to fit the mold of a certain kind of film that fares well in the present environment of the movie biz (ironically it’s this adaptation in the end from a smart film to a silly action movie that fails in execution, even though the joke more fittingly works perfectly on paper). Bad Company (2002) Even awful movies can have titles with multiple meanings, and this lame Joel Schumacher effort is a good example of such. Because “Company” means the CIA in addition to companionship, the title may refer to any of the following: an incapable member of the CIA (Chris Rock’s character); an incapable CIA in general (this was a time when the organization was called into question); a defective spy or untrustworthy spy; or simply the bad buddy team-up of Anthony Hopkins and Chris Rock (diegetically and extradiegetically). The same title had been used previously for a bad 1995 movie dealing with the CIA, so its multilayered usage here was not that inspired, but it is nevertheless a good title, in my opinion, and perhaps it will one day be put to better use. National Treasure (2004) The same goes for this movie, which should have and could have been a lot better. The title, which is a well-played mix of figurative and literal meaning and seems more thoughtful than most blockbuster Hollywood titles, would have you believe there was once some smarter writing to be found within the film itself. Shaun of the Dead (2004) For a short while, I thought the title of this comedy didn’t really appropriately fit the film’s story. Shaun isn’t of the dead, I reasoned, because he never “dies.” I accepted the title, though, because it was a nice play on the title Dawn of the Dead. Eventually I decided that it does indeed fit, because the general theme of the movie is that Shaun has been living his life as if he were a zombie. Before the real zombies show up, the “dead” of the title refers to all the people living in this spiritless way, Shaun included. Yet while the rest of these “dead” become undead creatures, Shaun proves that he is capable of living more fully and is able to survive the (allegorical) outbreak. 2046 (2004) Wong Kar-Wai loves to play with the idea of Hong Kong’s transition from British territory to Chinese (which occurred in 1997), and the title partly refers to the final year in which Hong Kong is allowed self-regulation before becoming fully integrated into mainland China in 2047. In the film, the numerical title literally references both a hotel room and the future year, which is employed in a science fiction story being written by the main character. Some people also like to interpret the title as reading “two-oh-four-six” meaning “to owe for sex.” Though there are prostitute characters in the film, this meaning is less likely the intention of Wong. But the additional interpretation makes for a richer title anyway. There Will Be Blood (2007) Why not retain the title of Upton Sinclair’s source novel, “Oil!”? Well, besides all the changes made to the story, it could be because Paul Thomas Anderson’s new title has more possible meanings. The word “Blood” in the title may refer to the actual oil, or the blood shed for the oil (as in drilling accidents then and wars now), or family, especially actual blood relatives (of which there aren’t actually many in the film). Mostly, though, the title allows for and acknowledges a connection between the film’s setting and the current events it appears to be commenting on. Originally posted on:SpoutBlog
]]>Fri, 19 Sep 2008 21:01:43 GMTSpoutBlogSpoutBlog on spout.com9/19/2008 5:01:43 PMSometimes I really wish David Bordwell’s blog permitted comments. Mostly it’s better that it doesn’t, but the man’s last post has made me want to discuss the art of movie titles for a whole week now. And it didn’t help that coinciding in time with Bordwell’s post was another one of those sidebars in Entertainment Weekly pointing out some new movies with misleading titles. Yes, Lakeview Terrace does sound like a period romance, as do many other badly titled films (Elizabethtown and Wicker Park come to mind). This weekend also sees two new movies employing the method of borrowing song titles, which are typically not appropriate (Ghost Town seems more like a horror western hybrid, while My Best Friend’s Girl actually fits its plot). Well, fortunately for me (and hopefully you), I can bring the discussion over to SpoutBlog, though not quite as in depth as Bordwell. I’ll be more than happy to have a conversation in the comments section regarding the more general topic of movie titling, but for now I’ll kick things off with a list of what I find to be the most interesting movie titles of the past decade. It’s been a time when studios and filmmakers have been very loose with ill-fitting and overlong titles, as well as some that are too plainly literal (Snakes on a Plane), but the following selections have the benefit of featuring clever, well-chosen and more meaningful monikers. All About My Mother (Todo sobre mi madre) (1999) This Pedro Almodóvar film has a very telling title, one that goes along with Bordwell’s acknowledgment of titles that speak for the character. Yet the character spoken for here is Esteban, the kid who dies in the beginning. Or does he? The title actually refers to a story Esteban has written for school and is inspired by the film All About Eve, which he has just watched. Esteban doesn’t so much die in the film as he does in his own story, which is depicted within the film. Also, the word “Mother” in the title doesn’t so much refer to his actual mother, Manuela, as it does his (made-up) transvestite “father”, Lola, who we learn all about. Amores Perros (2000) Although improperly translated as “Love’s a Bitch,” that phrase does at least apply on some level to Alejandro González Iñárritu’s film. As does the more acceptable translation of “Love is Dogs,” which references the film’s canine companions, each of which parallels its owner. But there is also another translation that’s more like “Goodness Wretchedness,” referring to a phrase on the film’s website that basically translates as “If your story turned out well, put it down to ‘amores.’ If bad, put it to ‘perros.’” The fact that you can interpret the meaning of the title multiple ways, and therefore you can interpret its meaning to the film multiple ways, is the reason that it was so important to release the film in the U.S. with its original Mexican title. The Perfect Storm (2000) Although the title comes from Sebastian Junger’s book, the name took on a whole new meaning for the film, which is, in my opinion, completely about the attempt to perfectly create a storm on a computer. Sure, there’s a plot within the film, too, but nothing more attended to than the perfectly rendered storm. In fact, the film’s storm may have been too perfect-looking, as the film lost the Visual Effects Oscar to Gladiator. While the title was clearly not intended for such purpose, and I had planned to ignore titles that inadvertently become more ironically meaningful upon release (Expelled: No Intelligence Allowed; Disaster Movie), I think the filmmakers at least meant to produce a spectacular storm more than a good story, so I believe it more qualifiable for the list at hand. Shanghai Noon (2000) This title doesn’t necessarily add anything to the meaning of the film nor does it really have multiple layers of meaning by itself. But it features the most cleverly punned title of the last ten years, in my opinion. The sequel’s title, Shanghai Knights, isn’t too bad, either. But just as the movie isn’t nearly as good as the original, neither is the title. Adaptation (2002) This title may actually be my favorite of all time due to its consisting of only a single word, which can be lent to the film in a multitude of ways. The title refers to the adaptation of a book to a film, the adaptation of a plant to its environment, the adaptation of a screenwriter character to his assignment, the adaptation of the same character to the events of his environment and, finally, the adaptation of the film itself to fit the mold of a certain kind of film that fares well in the present environment of the movie biz (ironically it’s this adaptation in the end from a smart film to a silly action movie that fails in execution, even though the joke more fittingly works perfectly on paper). Bad Company (2002) Even awful movies can have titles with multiple meanings, and this lame Joel Schumacher effort is a good example of such. Because “Company” means the CIA in addition to companionship, the title may refer to any of the following: an incapable member of the CIA (Chris Rock’s character); an incapable CIA in general (this was a time when the organization was called into question); a defective spy or untrustworthy spy; or simply the bad buddy team-up of Anthony Hopkins and Chris Rock (diegetically and extradiegetically). The same title had been used previously for a bad 1995 movie dealing with the CIA, so its multilayered usage here was not that inspired, but it is nevertheless a good title, in my opinion, and perhaps it will one day be put to better use. National Treasure (2004) The same goes for this movie, which should have and could have been a lot better. The title, which is a well-played mix of figurative and literal meaning and seems more thoughtful than most blockbuster Hollywood titles, would have you believe there was once some smarter writing to be found within the film itself. Shaun of the Dead (2004) For a short while, I thought the title of this comedy didn’t really appropriately fit the film’s story. Shaun isn’t of the dead, I reasoned, because he never “dies.” I accepted the title, though, because it was a nice play on the title Dawn of the Dead. Eventually I decided that it does indeed fit, because the general theme of the movie is that Shaun has been living his life as if he were a zombie. Before the real zombies show up, the “dead” of the title refers to all the people living in this spiritless way, Shaun included. Yet while the rest of these “dead” become undead creatures, Shaun proves that he is capable of living more fully and is able to survive the (allegorical) outbreak. 2046 (2004) Wong Kar-Wai loves to play with the idea of Hong Kong’s transition from British territory to Chinese (which occurred in 1997), and the title partly refers to the final year in which Hong Kong is allowed self-regulation before becoming fully integrated into mainland China in 2047. In the film, the numerical title literally references both a hotel room and the future year, which is employed in a science fiction story being written by the main character. Some people also like to interpret the title as reading “two-oh-four-six” meaning “to owe for sex.” Though there are prostitute characters in the film, this meaning is less likely the intention of Wong. But the additional interpretation makes for a richer title anyway. There Will Be Blood (2007) Why not retain the title of Upton Sinclair’s source novel, “Oil!”? Well, besides all the changes made to the story, it could be because Paul Thomas Anderson’s new title has more possible meanings. The word “Blood” in the title may refer to the actual oil, or the blood shed for the oil (as in drilling accidents then and wars now), or family, especially actual blood relatives (of which there aren’t actually many in the film). Mostly, though, the title allows for and acknowledges a connection between the film’s setting and the current events it appears to be commenting on. Originally posted on:SpoutBlog http://www.spout.com/blogs/chrismorrell/archive/2008/9/2/34676.aspx Post By: chrismorrell
Post To: chrismorrell Blog
Post Date: 9/2/2008 7:53:28 PM
Body: RED RED RED ..red hair , transvestite male prostitutes, tragic loss of children Lesbian love, motherly love , and fatherly love , fathers with breasts, Bette Davis reference, Black hair ,Penelope Cruz speaking her own language and seeming like a totally different person, heartbreak, Divas , " A street car named desire" , crying, lots of crying..crying while you watch it..fantastic..!. 9 out of 10...I'm done for now... Chrissie J
]]>Tue, 02 Sep 2008 23:53:28 GMTchrismorrellchrismorrell Blog9/2/2008 7:53:28 PMRED RED RED ..red hair , transvestite male prostitutes, tragic loss of children Lesbian love, motherly love , and fatherly love , fathers with breasts, Bette Davis reference, Black hair ,Penelope Cruz speaking her own language and seeming like a totally different person, heartbreak, Divas , " A street car named desire" , crying, lots of crying..crying while you watch it..fantastic..!. 9 out of 10...I'm done for now... Chrissie J http://www.spout.com/blogs/jscott/archive/2007/9/26/20166.aspx Post By: JScott
Post To: JScott Blog
Post Date: 9/26/2007 5:53:15 PM
Body: Pedro Almodovar’s All About My Mother finds many of its characteristics steeped in classic melodramatic themes. The effects of love and death are felt throughout the film. The entire beginning is a reflection of the entire beginning, if that makes any sense. We see Manuela (Cecilia Roth) through the eyes of Esteban II (Eloy Azorin). His perception of her is one that is very high, and his only real regret in life is that he does not know his father. That’s an all together different heartbreaking moment. We also get hints as to Manuela’s acting career, and her career as a nurse. Almodovar almost mocks us by having her act in a scene that she will later experience in her own life. The theatre and Streetcar specifically are very important to the story. The theatre seems to represent a past life. Manuela met Esteban-Lola in Streetcar, who brings life to two of the most important people in her life, but also brings death in at least one person whom Manuela cares very much for, Sister Rosa. Streetcar represents two important melodramatic motifs. Compassion, or a bond of solidarity, is best echoed when Blanche’s character says, “I have always relied on the kindness of strangers.” The forceful illustration of sexual exploration are closely related to desire, the other important motif conveyed to us through the movie.Sister Rosa (Penélope Cruz), a nun, was impregnated by Esteban-Lola (Toni Cantó). This child of theirs because Esteban III and became Manuela’s second chance at being a mother, although she has been a mother figure to everyone in the film. Esteban III is known as “the miracle child” because of the impractically of the couple and because he looks to have beaten AIDS. That starkly contrasts how Manuela views Esteban III’s father. She says to him, “You are not a human being Lola, you are an epidemic.” Esteban-Lola only comes into the our view because he wants to witness the death he has caused by spreading AIDS. At Rosa’s funeral is where the above quote happened and is the first time Manuela and Lola have seen each other since she left him before she had his son, 17 years earlier. It is only now that he finds out that he had a son that he never knew, it got worse because he found out he was already dead. This film sticks with Almodovar's views of strong women characters and of the discarded, marginal people and the non-traditional family. The strongest advocate for all of these motifs would be the character of Agrado (Antonia San Juan) a transexual. At one point she goes through all of the surgeries she has had to become "authentic" which is a throw back to an actual event that happened in South America. The film is full of strong messages and deep meaning. There is a good chance that if you haven't seen the film the above statements and assessments make no sense to you. Either way, if you love cinema you need to familarize yourself with his work. All about my Mother was my first exposure to him and it is a stand alone film that makes a lot of sense and gives you a reason to go back and celebrate the rest of his contributions to film.Definately one of my favorite films of all time.
]]>Wed, 26 Sep 2007 21:53:15 GMTJScottJScott Blog9/26/2007 5:53:15 PMPedro Almodovar&rsquo;s All About My Mother finds many of its characteristics steeped in classic melodramatic themes. The effects of love and death are felt throughout the film. The entire beginning is a reflection of the entire beginning, if that makes any sense. We see Manuela (Cecilia Roth) through the eyes of Esteban II (Eloy Azorin). His perception of her is one that is very high, and his only real regret in life is that he does not know his father. That&rsquo;s an all together different heartbreaking moment. We also get hints as to Manuela&rsquo;s acting career, and her career as a nurse. Almodovar almost mocks us by having her act in a scene that she will later experience in her own life. The theatre and Streetcar specifically are very important to the story. The theatre seems to represent a past life. Manuela met Esteban-Lola in Streetcar, who brings life to two of the most important people in her life, but also brings death in at least one person whom Manuela cares very much for, Sister Rosa. Streetcar represents two important melodramatic motifs. Compassion, or a bond of solidarity, is best echoed when Blanche&rsquo;s character says, &ldquo;I have always relied on the kindness of strangers.&rdquo; The forceful illustration of sexual exploration are closely related to desire, the other important motif conveyed to us through the movie.Sister Rosa (Pen&eacute;lope Cruz), a nun, was impregnated by Esteban-Lola (Toni Cant&oacute;). This child of theirs because Esteban III and became Manuela&rsquo;s second chance at being a mother, although she has been a mother figure to everyone in the film. Esteban III is known as &ldquo;the miracle child&rdquo; because of the impractically of the couple and because he looks to have beaten AIDS. That starkly contrasts how Manuela views Esteban III&rsquo;s father. She says to him, &ldquo;You are not a human being Lola, you are an epidemic.&rdquo; Esteban-Lola only comes into the our view because he wants to witness the death he has caused by spreading AIDS. At Rosa&rsquo;s funeral is where the above quote happened and is the first time Manuela and Lola have seen each other since she left him before she had his son, 17 years earlier. It is only now that he finds out that he had a son that he never knew, it got worse because he found out he was already dead. This film sticks with Almodovar&#39;s views of strong women characters and of the discarded, marginal people and the non-traditional family. The strongest advocate for all of these motifs would be the character of Agrado (Antonia San Juan) a transexual. At one point she goes through all of the surgeries she has had to become &quot;authentic&quot; which is a throw back to an actual event that happened in South America. The film is full of strong messages and deep meaning. There is a good chance that if you haven&#39;t seen the film the above statements and assessments make no sense to you. Either way, if you love cinema you need to familarize yourself with his work. All about my Mother was my first exposure to him and it is a stand alone film that makes a lot of sense and gives you a reason to go back and celebrate the rest of his contributions to film.Definately one of my favorite films of all time. http://www.spout.com/blogs/egonzalez/archive/2007/8/22/18522.aspx Post By: EGonzalez
Post To: Midnight Ponderings
Post Date: 8/22/2007 2:25:50 AM
Body: I like Almodovar. A lot.I was in Spain while his latest, Volver, was realeased and there was a general air of excitement surrounding the acclaimed director.Todo Sobre Mi Madre is a film about relationships and what we do with those relationships. We pick our family. We choose our friends, our lovers, our paths. Almodovar attempts to explore the difficulties of a modern conception of what a family means, in terms of parenting and also stepping in to take care of others. One of the things that I enjoy is his ability to explore the multple facets of characters. Concurrently working backwards in time and forward with the plot, the viewer comes to understand everything about a woman who sacrificed for her son, and the entwined pathways that lead her to the present. This film is not for the faint of heart, nor is it something to just pop in the VCR on a fun friday night with friends. It challenges your beliefs on homosexuality, drugs and family. Almodovar is very cynical about the Catholic church and accepting of various expressions of sexuality and gender, which are recurrent themes in his films.
]]>Wed, 22 Aug 2007 06:25:50 GMTEGonzalezMidnight Ponderings8/22/2007 2:25:50 AMI like Almodovar. A lot.I was in Spain while his latest, Volver, was realeased and there was a general air of excitement surrounding the acclaimed director.Todo Sobre Mi Madre is a film about relationships and what we do with those relationships. We pick our family. We choose our friends, our lovers, our paths. Almodovar attempts to explore the difficulties of a modern conception of what a family means, in terms of parenting and also stepping in to take care of others. One of the things that I enjoy is his ability to explore the multple facets of characters. Concurrently working backwards in time and forward with the plot, the viewer comes to understand everything about a woman who sacrificed for her son, and the entwined pathways that lead her to the present. This film is not for the faint of heart, nor is it something to just pop in the VCR on a fun friday night with friends. It challenges your beliefs on homosexuality, drugs and family. Almodovar is very cynical about the Catholic church and accepting of various expressions of sexuality and gender, which are recurrent themes in his films. http://www.spout.com/groups/All_about_Almodovar/Which_film_is_your_favorite_Almodovar_film/184/3179/1/ShowPost.aspx Post By: JScott
Post To: All about Almodovar
Post Date: 10/8/2006 2:23:54 PM
Body: I know many really like Talk to Her but for me All about my Mother is my favorite Almodovar film. I am also very partial to his earlier work.
]]>Sun, 08 Oct 2006 18:23:54 GMTJScottAll about Almodovar10/8/2006 2:23:54 PMI know many really like Talk to Her but for me All about my Mother is my favorite Almodovar film. I am also very partial to his earlier work. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Wed, 11 Nov 2009 20:51:56 GMT252253152Tag http://www.spout.com/members/0/tags/life/MemberTagFilms.aspxlife
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]]>Wed, 02 Dec 2009 23:13:43 GMT108252224Tag http://www.spout.com/members/0/tags/foreign/MemberTagFilms.aspxforeign
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Number of people who tagged: 30

Number of times used: 421

]]>Thu, 12 Nov 2009 19:41:30 GMT49130421Tag http://www.spout.com/members/0/tags/Spanish/MemberTagFilms.aspxSpanish
Number of films tagged: 44

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]]>Mon, 20 Jul 2009 04:20:59 GMT442754Tag