The dog is identified in the film credits at the end, but oddly not here - his name is Dash. And he does a great job.
16 Reviews
The dog
stephenjbozich17 May 2021
Cocteau according to Almodóvar
hof-45 September 2021
Jean Cocteau's play La Voix Humaine (The Human Voice) opened at the Comédie Française in 1930 as a atar vehicle for Belgian actress Berthe Bovy, then popular in Parisian stages. The work involves a woman, only identified as Elle = She, speaking on the telephone with his lover of several years, who is leaving her.for another woman. Her interlocutor is silent for the duration and we don't even know for sure if he is listening or if the connection has been broken.
The play had an enduring popularity, and has been since in the repertory of many theater companies. It was put on screen several times, among them by Roberto Rossellini (first episode of L'Amore 1946: actress Anna Magnani) and by Ted Kotcheff (1966: actress Ingrid Bergman). It even had a second life as an opera by Francis Poulenc in 1958, which has been as well accepted as the play and is still being staged and recorded.
This being the Almodóvar version, we may expect some off the wall happenings. One is a very funny scene where the protagonist browses for axes in a hardware store that seems to have an unusually large inventory of the item. On another, the axe in question is used in a hilarious way. We are shown mid-movie that She's apartment is actually a set in a sound stage which is perhaps a gentle dig at he artificiality of the play. And, last but not least, we have the director's trademark, cinematography in gloriously saturated colors. Tilda Swinton does an outstanding job as She; she tones down the melodrama and borders on the humorous at times. All in all, a refreshing take on the play and the best version I have seen.
The play had an enduring popularity, and has been since in the repertory of many theater companies. It was put on screen several times, among them by Roberto Rossellini (first episode of L'Amore 1946: actress Anna Magnani) and by Ted Kotcheff (1966: actress Ingrid Bergman). It even had a second life as an opera by Francis Poulenc in 1958, which has been as well accepted as the play and is still being staged and recorded.
This being the Almodóvar version, we may expect some off the wall happenings. One is a very funny scene where the protagonist browses for axes in a hardware store that seems to have an unusually large inventory of the item. On another, the axe in question is used in a hilarious way. We are shown mid-movie that She's apartment is actually a set in a sound stage which is perhaps a gentle dig at he artificiality of the play. And, last but not least, we have the director's trademark, cinematography in gloriously saturated colors. Tilda Swinton does an outstanding job as She; she tones down the melodrama and borders on the humorous at times. All in all, a refreshing take on the play and the best version I have seen.
Minor Almodóvar.
Pjtaylor-96-13804427 July 2021
'The Human Voice (2020)' is a short film based around Jean Cocteau's play of the same name. It's directed by Pedro Almodóvar (his English-language debut) and stars Tilda Swinton as pretty much the only on-screen character (there are some background extras towards the start, but that's about it). It's a very pared-down affair, not just within its story but also within its presentation. Though it's colourful and sometimes lavish, it doesn't have the same, shall I say, 'high-calibre melodrama' feel that much of the famous director's work has. Instead, it draws as much attention to its focal performance as possible, the film taking a backseat to its subject. This isn't necessarily a bad thing, even if it runs the risk of making the flick's central monologue become a little monotonous, as it draws attention to the main reason the thing exists in the first place. In many ways, the short feels purely like a vehicle for Swinton to flex her acting muscles. The actual story isn't all that impactful and it's only as interesting as it is (it never gets boring) because it's performed so utterly well. Ultimately, however, the flick comes across as a little hollow. It's entertaining enough for what it is, but it doesn't have much staying power and it isn't actually all that compelling. It isn't bad, don't get me wrong. It's just a very, I suppose, 'in-one-ear-and-out-the-other' kind of thing. Still, it's worth a watch if you're a fan of its director, star or source material (which, incidentally, bears some similarities with 'Women On The Verge Of A Nervous Breakdown (1988)', since Almodóvar has been inspired by Cocteau's work for quite some time). 6/10.
Pedro and Tilda
gortx24 June 2021
Pedro Almodovar's short is, as the credits state - "freely adapted" from a Jean Cocteau stage production. Almodovar retains the central conceit of the play as it essentially is a monologue with a woman on a telephone talking with a lover (the other voice is never heard). Almodovar includes a brief prologue and he winks at the viewer by 'revealing' the artificiality of his own production. He also revels in his usual saturated color schemes.
Fortunately, the woman is played by Tilda Swinton who has to carry the full half hour alone. Almodovar wisely has shaped the material (for the first time in English) around Swinton's talents and she carries it off for the most part, even if some of the eccentricities the Writer-Director don't really work.
Fortunately, the woman is played by Tilda Swinton who has to carry the full half hour alone. Almodovar wisely has shaped the material (for the first time in English) around Swinton's talents and she carries it off for the most part, even if some of the eccentricities the Writer-Director don't really work.
Una mujer al borde de un ataque de nervios
AhmedSpielberg9917 May 2021
One thing I noticed, and adored, about Almodóvar, is that despite his unequivocal propensity for incorporating comedy with melodrama, there's no way his films could come across as either silly or overly sentimental. For his stories are laced with considerable nuance. His Women on the Verge on a Nervous Breakdown, which is also based on Jean Cocteau's play, "La voix humaine" as this short is, maintains an incremental humorous tone so much so it could be adequately described, by its end, as a farce. Yet, as we see Pepa trying to figure out why her lover dumped her without an explanation, Almodóvar delves into Pepa's psyche with great subtlety that's apt for her precarious state. That's why I thought The Human Voice would benefit greatly from the concentrated nature of short films. Our unnamed protagonist's wait for three days for her lover to come in a last chance to see him has filled her with rage. A vindictive rage almost identical to that of The Bride in Kill Bill, but she still loves him. So she acts out like a maniac: stabbing one of her lover's suits with an axe in a harmless cathartic release. She wouldn't dare to actually hurt him; she still loves him. Therefore, she's so vulnerable. Over the course of her conversation with his lover, her seemingly stable and wry demeanour gradually crumbles, exposing both her helplessness and her futile undirected rage. Almodóvar brilliantly highlights such contradiction and lays her feelings bare by showing the soundstage her exuberantly furnished, sumptuously coloured apartment is constructed upon. As she grows more desperate, she begins to lose control. Finally, she decides to free herself from the submissive woman she's always been, and put an end to their toxic relationship - after all, her love made her too fragile and delicate to venture to turn the tables on him as Alma did on Reynolds in Phantom Thread. The thing is, I didn't feel that she loves him. What's baffling is that I can't put my finger on why exactly I feel so, but it's likely due to the stagy feel this film has. It is a showcase of Tilda Swinton's thespian prowess, but, at times, her monologue comes off rather like a soliloquy - like there's no one on the other side of the phone line. Regardless, The Human Voice is an eye-popping, exquisitely-made feminist work with witty sarcastic undertones.
Oh well, we don't find out now that Pedro
mehobulls23 September 2020
While Swintons performance is a great showcase for her range and understanding of this character - The Human Voice can feel a bit to self indulgent and overly sarcastic. Almodovars direction shines in the moments where Swinton dominates the screen but falters when trying to build a world around her that would support the feeling of the emotional turmoil she is in.
Tilda Swinton took an axe
richardchatten4 March 2023
When long ago I saw Rossellini's version of this play by Cocteau with an audience of students the most memorable moment came when Anna Magnani finally put down the phone, promptly picked it up and started dialling again and everyone in the cinema groaned en masse.
The play has yet to be filmed in French, in Pedro Almodovar's first film in English this time it has brevity on it's side and it's Tilda Swinton's turn to be the woman on the verge of a nervous breakdown.
The original was in black & white but in true Almodovar style Swinton uses an earphone that makes the proceedings seem more like an interior monologue as she prowls about cigarette in hand dressed in chic little outfits in bright pastel colours complemented by the decor and even the pills that she pops.
The play has yet to be filmed in French, in Pedro Almodovar's first film in English this time it has brevity on it's side and it's Tilda Swinton's turn to be the woman on the verge of a nervous breakdown.
The original was in black & white but in true Almodovar style Swinton uses an earphone that makes the proceedings seem more like an interior monologue as she prowls about cigarette in hand dressed in chic little outfits in bright pastel colours complemented by the decor and even the pills that she pops.
A lot to live up to.
garethcrook23 July 2021
This has quite a lot to live up to. The 1966 version with Bergman is a masterpiece. Plus this is directed by Pedro Almodóvar AND it's his first English language film. I've been itching to see this for a long time. Delayed like many films due to the pandemic, my expectations have been heightened. Always dangerous going into a film. This was interestingly shot during lockdown, behind the scenes shots showing the crew in masks. I suppose this might be the perfect film project for social distancing. In place of Bergman is Tilda Swinton. She's not in the same intimate setting as her predecessor. In fact she's a lot more freedom, starting browsing axes in a hardware store. The premise is the same though. An unnamed woman, alone after being left by her lover. Only a dog for company. Even here though, things are dialled up, the dog can act! Also pining for the now missing man, seriously the dog is great! What's also great is her apartment. It's gorgeous! Modern clean lines, bold colours. It screams taste and control. Inexplicably though, it's not shown to be a real apartment. It's a set, built in a warehouse-like sound stage. I've not yet decided why, other than it looks wonderful as we see aerial shots, Swinton moving from room to roofless room smashing things in anger and frustration. We're a third way in before the phone rings. This time an iPhone with AirPods. Here we get closer to Bergman's portrayal. The monologue taking centre stage as Swinton wanders in and out of hers. It's a much more stylised interpretation and feels a little soulless in places for it, but it still works. The relationship described is much more modern, less traditional, less conservative, but the emotions are just as raw and Swinton delivers with just as effective might. Is it better than the 1966 version? No, but I think it might be as good, or very very close. I might need to watch it a few times to appreciate it fully. Swinton though is undoubtably brilliant and Almodóvar has updated the premise with all the invention you'd expect. It might even have a better ending. My expectations were high and I wasn't disappointed.
Pedro Almodovar's peculiar monologue with stunning acting from the great british actress Tilda Swinton.
ma-cortes18 February 2024
A mature woman (Tilda Swinton) watches time passing next to the suitcases of her ex-lover -who is supposed to come pick them up, but never arrives- and a restless dog who doesn't understand that his master has abandoned him. The woman at first speaks calmly, but once the conversation goes on, things get worse, and anger and a certain hysteria emerge from her mouth. We watch two living beings facing abandonment.
Almodóvar presents his first film entirely in English, a 30-minute short film with the absolute leading role of the great Tilda and dealing with heartbreak as a backdrop, a torn monologue based on Cocteau's play, in which the author Frances showed the sadness, the rage, the helplessness, the helplessness and a thousand other emotions of a love breakup. In which the long-time British actress shows a whole catalog of feelings through a telephone conversation in which the other party cannot be heard. This prestigious British actress of androgynous beauty has a notorious career. She has played both women and men. She doesn't always play women; she has played Mozart on stage, an Elizabethan nobleman in Orlando (1992) and an androgynous angel, Gabriel, in Constantine (2005). Tilda Swinton is a frequent collaborator of Luca Guadagnino with whom she has worked in five productions: The Protagonists (1999), Tilda Swinton: The Love Factory (2002), Io sono l'amore (2009), A bigger splash (2015) and Suspiria (2018), together they also created the concept of the short film Here (2012).
Also worth highlighting is the excellent work of two of Almodovar's regular collaborators: cameraman José Luis Alcaine in the photography and the Oscarized composer Alberto Iglesias in music. Being a project produced by Pedro Almodovar himself y his brother Agustin Almodovar, the latter has a bit role as a shopkeeper. Later on, Pedro would make a second short film in English: Extraña forma de vida (Strange Way of Life) with Ethan Hawke and Pedro Pascal. Previously Pedro Almodóvar had directed successful films, some of them Oscar-winning, among which the following can be highlighted: Dolor y gloria, La piel que habito, Hable con ella, Carne trémula, Tacones lejanos, Átame, La Flor de mi secreto, Mujeres al borde de un ataque de nervios, La Ley del Deseo.
Almodóvar presents his first film entirely in English, a 30-minute short film with the absolute leading role of the great Tilda and dealing with heartbreak as a backdrop, a torn monologue based on Cocteau's play, in which the author Frances showed the sadness, the rage, the helplessness, the helplessness and a thousand other emotions of a love breakup. In which the long-time British actress shows a whole catalog of feelings through a telephone conversation in which the other party cannot be heard. This prestigious British actress of androgynous beauty has a notorious career. She has played both women and men. She doesn't always play women; she has played Mozart on stage, an Elizabethan nobleman in Orlando (1992) and an androgynous angel, Gabriel, in Constantine (2005). Tilda Swinton is a frequent collaborator of Luca Guadagnino with whom she has worked in five productions: The Protagonists (1999), Tilda Swinton: The Love Factory (2002), Io sono l'amore (2009), A bigger splash (2015) and Suspiria (2018), together they also created the concept of the short film Here (2012).
Also worth highlighting is the excellent work of two of Almodovar's regular collaborators: cameraman José Luis Alcaine in the photography and the Oscarized composer Alberto Iglesias in music. Being a project produced by Pedro Almodovar himself y his brother Agustin Almodovar, the latter has a bit role as a shopkeeper. Later on, Pedro would make a second short film in English: Extraña forma de vida (Strange Way of Life) with Ethan Hawke and Pedro Pascal. Previously Pedro Almodóvar had directed successful films, some of them Oscar-winning, among which the following can be highlighted: Dolor y gloria, La piel que habito, Hable con ella, Carne trémula, Tacones lejanos, Átame, La Flor de mi secreto, Mujeres al borde de un ataque de nervios, La Ley del Deseo.
Beautiful and crackling with reality
henri-2684214 May 2022
very authetic
JankiSharma9 October 2023
A very different approach by Director Pedro Almodovar ( my favorite movies The skin I live in Tie me up! Tie me down! Women on the verge of a nervous breakdown what Have I done to Deserve This....) in making 30 minute short film The Human Voice and shown after another short film 30 min long Strange Way of Life. Tilda Swinton (greta acting in movie We need to talk about Kevin) as a woman who is abandoned by her lover/boyfriend/husband and on the phone for 30 minutes (in a monologue )dissecting her relationship and fear of being left behind by a man she trusted and had faith to be eternal partners in journey of life is awesome. Tilda Swinton pacing up and down the room , describing their dog's reactions to not having Master of the house at home and she herself feeling abandoned is authentic. Facial expressions and her tone and language indicate misery, loneliness, fear of the unknown life ahead of her. Pedro Almodovar has mastered the difficult art of understanding a woman and has done great work even in the past. This short film was great every moment and script is awesome. All that movie needed was a great Director , great acting and excellent script. All 3 major ingredients of the short film made it awesome 30 min for me.
extremely pretentious
lonesomedove_802 June 2021
You can tell almodovar loves bold colors ..really loves them.. even if its a killing object ..you have to notice the colors .. OVERALL THIS WAS VERY HARD TO WATCH.. extremely pretentious performance from tilda who I usually like ...and I felt nothing ..the whole thing was theatrical and empty.
Pretentious and very weak
jeremycooper-2089615 March 2022
boring
MrDeWinter28 September 2022
Visually interesting, great editing but story very thin and unengaging. You don't really care for her pathetic hurt broken story. No context given. If the story had more meat could have been a better movie. Short stories usually are to the point but here, no one cares really. The best thing here are the interior design and the fashion choices. Oh and the dog, the dog steals the show. You get more attached to the dog than to her. Nothing else to write, why does IMBD want me to write over 100 characters more is beyond me. Nothing else to write, why does IMBD want me to write over 100 characters more is beyond me.
It left me speechless
fostrhod26 March 2023
The Human Voice, dir Pedro Aldomover & starring Tilda Swinton. I think I've only ever seen one film by Pedro A , can't say what the film was other than it didn't leave any sort of impression on me, never being compelled to watch anymore films by him. I put this film on Netflix purely because it was a 20 minute short and might be a decent film whilst I was having my dinner. I was wrong, it's shocking! Swinton plays a woman on the verge of a nervous breakdown (hahaha) whose partner has left her and the dog, and she is slowly going crazy. It's a one woman tour de force for Swinton It's still dull though. Luckily it didn't distract from my dinner which was an expertly made cheese omelette sandwich. The key to good cheese omelette, use a nice strong cheese but don't over do it. The term less is more applies to a cheese omelette but sadly not to this film. 3/10 for the movie , 9/10 for my sandwich.
What wood you chop in the edit, sweet?
frukuk12 March 2023
An instructional video on the appropriateness and inappropriateness of various tools. You should not try to chop something soft with an ax(e). You should not try to break something hard -- like a heart -- with the human voice.
What's that Lassie? I can't hear what you're trying to say, though I can hear your canine voice. These humans are too complicated? Is that what you mean? They need to interact with other complicated human beings and they find themselves in an arms race, each side needing to become more and more complicated? Yes, you are very insightful, mon chien Andalou. Good dog. Good dog. Good.
What's that Lassie? I can't hear what you're trying to say, though I can hear your canine voice. These humans are too complicated? Is that what you mean? They need to interact with other complicated human beings and they find themselves in an arms race, each side needing to become more and more complicated? Yes, you are very insightful, mon chien Andalou. Good dog. Good dog. Good.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
