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Almodovar's gift is to take a soap-opera storyline - two mothers and their babies - and give it a glossy sheen that makes it seem almost fresh. All the cast take their roles seriously. Penelope Cruz is the best of them; on screen she has an incandescence that reminds me of Sophia Loren's early films.

There's a background story in which Cruz's lover is trying to get permission to excavate the grave of some villagers savagely killed in the early years of the Civil War. I rather wish that this had been given more screen time. The final scene of this movie is nothing less than magnificent.

Two women put in the same room in a hospital during labour form a friendship. One is a successful photographer the other is a lonely ignored single child of a famous actress.

Janice is also trying to get the mass grave of her great grandfather exhumed but the Spanish civil war historical memory law is making that difficult.

This is a great movie of complex situations and how two women have to deal with the realities of the cards life has dealt them.

Penelope Cruz is up for an Oscar for this role, in my mind well deserved.

Greetings again from the darkness. As a devoted follower of films by Almodovar for more than 35 years, I still find myself enchanted by his stories, his visuals, his characters, and his consistency in writing complex and engaging parts for women. Oscar winning writer-director Pedro Almodovar's last film, PAIN AND GLORY (2019) may be considered his semi-autobiographical masterpiece, but this latest proves he still has much to say, and will do so with his customary flair.

I often write about a filmmaker 'delivering' a film, and in this case, Almodovar literally serves up dueling deliveries in the maternity ward. The births are edited for a bit of comedic relief, but the sequence also makes the all-important point about the connection between the two mothers. Oscar winner Penelope Cruz stars as Janis, a woman pushing 40 who has a fling with married Arturo (Israel Elejalde). He's the forensic archeologist working on the project to excavate a mass grave from the Spanish Civil War rumored to hold the remains of relatives of Janis, as well as others from the community.

While awaiting the birth of her child, Janis meets her roommate Ana (a terrific Milena Smit), a 17-year-old who is much less thrilled than Janis at the thought of becoming a mother. The two women of different ages, different attitudes, and different, yet similar, situations give birth on the same day at the same time - each becoming a single mother. The exhausted women have no clue of what is to cause their lives to become intertwined and push the story forward. While in recovery, we are introduced to each women's support. Janis' lifelong friend Elena (played by Almodovar favorite Rossy de Palma) bursts into the room (and onto the screen) in a flash of color and smile. On the other side, Ana's narcissist mother Teresa (Aitana Sanchez-Gijon) immediately begins recounting her latest audition, which could lead to the big break in her acting career. As an afterthought, she then asks about the babies. We learn so much in these few minutes.

This becomes the story of the two women and their babies, yet always hovering is a story about the history of the country, and the families affected by the Spanish Civil War atrocities. The story structure isn't seamless, but then neither is life ... especially of those impacted. Past and present have unbreakable links, as do the generations of strong females who carried on. As Janis pursues the archaeological dig, we contrast that with the self-centered Teresa who states, "I'm apolitical. My job is to please everyone." Of course, by the end, Janis, Ana, and Teresa have all grown as people after facing morally challenging dilemmas.

This is Penelope Cruz's 8th Almodovar film, and, to no one's surprise, she excels in the role of Janis. It's unfortunate that very few actors receive Oscar recognition for Foreign Language films because her work stands with that of any actor this year. Almodovar is a master, and proves time and again that melodrama is not a taboo approach to storytelling when handled properly. On display throughout is his trademark use of color - in clothes, cars, art, and yes, the hospital room. Even his closing credits are stylish. Frequent Almodovar collaborators include Production designer Antxon Gomez, composer Alberto Iglesias (heavy on the strings), and cinematographer Jose Luis Alcaine ... and what a team they make. The film can be viewed as a tribute to (and reminder of) the history of Almodovar's beloved Spain. He even includes a fitting quote, "History refuses to shut its mouth", something he works to ensure.

Opens in select theaters on January 14, 2022.

There's a lot to enjoy about Parallel Mothers.

It has terrific performances, with Penelope Cruz stealing the show. The direction is so clean, crisp and stylish. It has a brilliant score.

The story is maybe the only area where I felt it was lacking. At times for me it was a little messy and had a few too many directions and prongs. There was a nice contrast in themes with the focus on the past set against new motherhood, but it was a little too disparate for me.

Despite this I did enjoy the story and film a lot. At its peak there were some gut wrenching emotional moments with razor sharp dialogue throughout.

Most directors reach a peak somewhere during their career. Their films stop improving from then on. The remarkable thing with Pedro Almodovar is that, at 72, he still doesn't seem to have reached his peak. The older he gets, the more intense and pure his films become.

In 'Madres Paralelas', all the usual Almodovar ingredients are blended together exquisitely. An unorthodox story about women and motherhood, superb acting from Penelope Cruz, tasteful clothing and interiors, beautiful cinematography and intelligent dialogues with surprising twists. But this time, Almodovar adds a little extra: a subtle attack on the right-leaning political parties in Spain. The former prime minister Mariano Rajoy is even mentioned, which seems at odds with the fact that Almodovars cinematographic universe is usually uncoupled from modern day issues.

The point Almodovar wants to make about Spain, is intelligently integrated into the story. It is about death, war and coping with past sins. The contrast with the other themes in the film is striking: we see Cruz, and the other parallel mother Milena Smit, involved in childbirth, friendship and rethinking their future lives.

A nice characteristic of this film is that it's all about women designing their own lives. Which is a nice change: most films are male-centred. The only male character of any importance is subject to the whims of women. In one funny moment, he tells Cruz that he wants to have a child with her, but not yet. To which she replies that it doesn't really matter, because the unborn baby is already there.

'Madres Paralelas' is a relatively unspectacular film, because in consists mostly of people talking, reacting to each other and showing their emotions. But it takes extraordinary directing skills to make such a film, and fascinate audiences by it. This is one of those films that are just very good, because they are made by an experienced craftsman who knows what he's doing.

The IMDb synopsis for 'Parallel Mothers' reads, "The story of two mothers who give birth the same day." I think this could use some work. It really doesn't sell the film at all. In fact it makes it sound painfully dull and uninteresting. You don't have to give anything away about the story. You just need to hint that there will be some reason for drama and to justify a film being made about this story.

The film is a strange one. There are some pretty serious things that happen, however the film seems to be doing its utmost to have characters under-react to everything. There is one particularly shocking moment in this film that I thought was going to trigger all kinds of hell. But it just kind of got an open-mouthed shock look for a little while and was then moved on from. They didn't even come back to it much at any point. There are numerous smaller occurrences like this too. It's very strange.

The drama was enough to carry a movie though and it did enough to keep me interested. The runtime pushed itself 15-20 minutes longer than needed. The whole epilogue sequence didn't really do anything for me and felt very unconnected to the rest of the film. There were better and more powerful ways they could have wrapped the film up for sure.

Penelope Cruz is very good as always. She has more than enough charm and charisma to carry a film by herself. She certainly payed a part in keeping the film afloat. This isn't one I'd go out of my way to recommend, but it's harmless and might be to some of your liking. 6/10.

At first the plot seems a cliche but turns out to be surprisingly great. The screenplay is brilliant, in addition to the very interesting story, it has some deep lines and tackles beautiful topics. Penelope Cruz's performance is superb, specially when it comes to her real facial expressions. This film is one of the year's very pleasant surprises, it's nice, highly entertaining and definitely deserves its Golden Globes nomination for best foreign-language feature, too bad Spain didn't submit it to The Academy though.

Parallel Mothers

This was not one of Almodovar's finest movies, the characters were superficial and lacked any sort of emotional intelligence, in fact they were verging on caricatures of human beings.

The plot was quite bizarre lacking any heft, something about a genetic legacy and not being able to deny history. The plot took a wrong turn when it fixated about the paternity for one baby but the other baby "oh it looks like my grandmother", was sufficient.

The dialogue skated on the surface and we had some strange scenes to titillate the viewer, I wasn't convinced. Had it not been for the fabulous Penelope Cruz who threw her all into the project this would've been a Spanish turkey.

I'm giving this a weak 6 outta 10, meaning if you are an Almodovar fan you have to see it.

This film needs to be watched a few times to make sense of the deep themes in this theme. It has a similar weight and depth to previous films of his such as Volver. The concept of origins, birth and death, uncovering hidden histories and the difficulty of living with a questionable legacy.

It seems to ask questions of contemporary Spain and serves as a snapshot of the national mood. How does it come to terms with its difficult history while still living in the present era? A thought-provoking and emotionally powerful film shot in his signature style.

Madres Paralelas is a Spanish movie, telling the story of two women that give birth at the same time, and the way that their lives connect after this seemingly innocent event.

The movie clearly approaches a political / historical topic in Spain which I have to be honest I wasn't familiar with, and for that sake alone I am glad I got to see it and be familiar with the topic. I see some of the criticism towards the film stems with the fact that the director could've explore this topic deeper due to its serious nature, however for me personally not knowing the reality I liked the parallelism between the issue and what the main character went through in her personal life.

It seems clear the message of wishing to preserve the truth of her lineage and live by her own values - it's ultimately a story not only about motherhood but also how our deepest values can have great impact in some of our most critical decisions in life.

Penélope Cruz gives a strong performance and the movie while not ground breaking has an interesting story and contrary to what I have heard not at all predictable. You might say it's a very unlikely situation and of course as in all films a dramatized plot, however not impossible to happen and it serves the purpose of the message.

With this being, for me, one of the worst Academy Award season in terms of movie quality I found this one a good watch!

Penelope Cruz takes us on a wonderful and intense roller coaster of emotions. The plot kept on surprising the viewer and the mood is a mediterranen Alfred Hitchcock mix. We are faced with authentic female roles as mothers, daughters and granddaughters.

Somehow strange and archtypical spanish drama, with strong caracters and a heartbreaking story at many levels and directions. Penelope cruz do an all star performance and milena smit in lead assist role does a real good piece of work as a teenager, that still hasnt sprung out of skin of juvinality. Its also a drama of politics of the past, the franco regime does still have secrets buried in the ground, and plays a great part of the emotional game. Combine that with birth love and death and a unconclusive twisted end, then youll have a paella you might like and devour... but its in spanish...

its easy to see that this movie has been made on strict orders and firmly handed by a director emeritus of the silverscreen arts, its made to make you think and make up your mind many times as the plot rolls on. Its definately heartbreaking at moments, and its fairly questionable the realism of the story, even though mistakes happens in the maternity ward again and again all over the world. And even though the grumpy old man have passed the physical ability of making another bun in the oven, i do still have the ability to feel the stirring emotions of this drama. Its not a perfect production, but its never giving you the feeling of boredom.so therefore a recommend of don pedros dramatismics.

I can't say this is a bad film, but I can say people let Almodovar go away with a lot of things others wouldn't get a chance.

First, the guy knows how to direct. Knows how to use the camera, how to use the colours, interior spaces and how to take the best of the cast. Penelope does an impressive job here, much more if you think about the range of emotions and how much effortless it looks like. I think the main story is quite interesting even if slightly predictable from the first scene. I also like that Almodovar is still very ambitious, even if he doesn't need to be it anymore, but...narratively, this is a mess.

I don't know how to mix these two stories - the present with the mothers and the past related with Franco's crimes in Spain - but maybe there is a reason for that: because they don't make a lot of sense together. It always feels like two separate films and even if I liked the final scene, I think Pedro tries to lecture us too much (and I agree with his message about those past crimes and how Spain is dealing with that).

It's watchable, maybe it deserved a 6, but I definitely didn't feel as invested as I should have been considering the two main themes.

Very good turn by Pedro Almodovar, one of his best films of the last years.

Its a very unpredictable film that seemingly is about a certain topic and turns out to deliver something completely different. An interesting experiment that pays off very well because at one point you realize to watch a completely different movie than you thought you would. Genius.

The acting was great. I really loved Penelope Cruz who was as expected great. Almodovar truly knows how to put his muse in scene. But also Milena Smit was great and both had a wonderful on screen chemistry. Its a fantastic screenplay and had many good elements like a very decent cinematography and great score.

One little issues I had with it was that it had several loose ends, but I think thats because of the nature of the film and how it is written so I think its nothing big to blame it for. I really enjoyed the characters, although they sometimes made weird decsisions but they were extremely well created. A must see and a typical Pedro Almodovar, although not a very typical movie.

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"Parallel Mothers holds an unexpectedly shocking narrative about motherhood, featuring two remarkable performances from Penélope Cruz and Milena Smit.

Despite some dull soap-opera moments and a few uninspiring technical attributes, Pedro Almodóvar offers a captivating, genuine, emotionally powerful story that puts the spotlight on imperfect mothers.

Boasting clear direction and a no-nonsense approach, the eponymous parallelism is continuously present throughout the runtime, making this a consistent viewing.

Definitely, a worthy awards contender for Spain."

Rating: B.

Summary:

In this rather misunderstood film, Almodóvar consummates the audacity of associating the historical memory of the crimes of the Franco regime with a melodrama about intertwined motherhood, as intense as it is disturbingly contingent, tracing a perfect circle with identity at the center of the scene. The provocativeness of the film is made flesh in its protagonist Janis (a magnificent Penelope Cruz), a character subjected to tremendous dilemmas that express the dialectic, the contradictions and finally the synthesis between the private, the militant and the historical. And that Almodóvar does it, in a Spain that is witnessing the resurgence of the extreme right, is a declaration of principles.

Review:

Janis (Penelope Cruz) is a professional photographer. After a photo session for Arturo, a renowned forensic archaeologist (Israel Elejalde), she tries to interest him in the exhumation of Franco's victims buried in a mass grave in her hometown. Later, Janis, about to give birth, meets Ana, also in labor (Milena Smit), without suspecting that their destinies will be closely linked.

Undoubtedly, we are facing a film that is being quite misunderstood. Through an extremely intelligent and skillful script, Almodóvar has the audacity to intertwine the melodrama with the historical memory of the Franco regime. And he does it with a story about several intertwined motherhoods that are as contingent as they are assumed or abandoned, with identity at the center of the scene. The association that appears in the story between the intensity of maternal feeling, biology and chance is very disturbing.

The provocation of the film becomes flesh in Janis, a character subjected to tremendous dilemmas that express the dialectic, the contradictions and finally the synthesis between the private, the militant and the historical (dilemmas that Cruz expresses admirably through his gestures and his language bodily). Through her and the generational clash with Ana regarding historical memory, the director somehow updates and "everyday" a taboo and difficult topic for Spaniards even today, such as the Franco dictatorship and the impunity of its crimes.

Almodóvar has arrived as a filmmaker at an undeniable maturity, no longer interested in continuing to be an enfant terrible. Of course, this is not a comedy nor is it a choral story; the director cultivates a more relaxed style: he does not renounce melodrama (essential in his filmography) but he does renounce the tension and hubbub of his other films. He continues with his well-established handling of time lines, sometimes playing with the viewer by making him believe that some flashbacks are ellipses, for example. The fluidity of the narration is exemplary and avoids certain formalistic excesses and the somewhat pretentious structural sleights of several films from his last stage (a good example of this would be Bad Education), which created an emotional distance with the viewer. He always knows how to set up the camera and how and where to position his characters; he achieves beautiful effects with his fades that plunge the troubled Janis into the shadows at the end of some scenes.

In short, through the character of Janis, a new and great Almodovarian heroine, magnificently played by Penélope Cruz, and as noted above, Almodóvar carries out the operation of conflicting in a vibrant and moving way (at times close to a thriller) what private with the militant about a past that Spain has not finished processing and that it prefers to bury in oblivion. And that Almodóvar does it, with the forcefulness of the shovels and the bones, in a Spain that is witnessing the resurgence of the extreme right, is a declaration of principles.

Pedro Amoldovar's 'Parallel Mothers' feels almost like two films in one: the first is a glossy, sexy, melodramatic story of two single mothers whose fate becomes intertwined; the other is a sober consideration of the need for justice for relatives of those who died in Spain's civil war. The two are linked, but loosely, by these role of genetic testing both stories. As always with Almodovar, the film is cleverly shot and compelling as it progresses from one scene to the next; but overall there's a lack of cohesion. It's also a film where characters talk of being depressed but the main story proceeds in vibrant tones throughout. It's watchable, but ultimately packs less of an emotional punch than it might have done.

8/10 - utterly captivating and enchanting, this powerful story is led by Penélope Cruz at her absolute best and it is my favorite Almodóvar film that I have seen to date.

Far, far from Talk to her or Volver, by far his two greatest works, Parallel mothers reflects the increasingly marked decline of the director.

Far too from his last great work The skin I live in, even from the much less interesting Julieta and Pain and Glory.

Even so, Parallel mothers is a correct Almodovar film. Too slow, with a too predictable development and which loses interest in the middle part of the film (so many tests, so many tears), but almost always interesting.

Penelope is brilliant (well, very strange accent, as always when she works for Almodovar), but the plot is too tearful and we miss the crazy sense of humor with which Almodovar spiced up his melodramas in his best films. Here the style is, comparatively, not only more serious: it's monotonous, and tired...just plastic, not flesh and bones.

Almodovar has lost exuberance. He clearly wanted to gain in focus and depth: it is an assumedly mature cinema... but Almodovar has never been an intellectual or analytical director, his greatest weapons were directness, passion, humour and authenticity and we loved his films despite their obviousness. They were over the top films, visually pure plastic, more convoluted than complex, but pasionate and with an inner conviction. And yes, they were fun. Now we just feel the smell of plastic, the routine.