volver analysis

Remembered films mix with childhood memories here, and, as if to make this point, in a later scene Visconti’s Bellisima runs on a television set. But Volver wends its way playfully through Dalí-esque surrealism, nineteenth-century melodrama, pictorial realism, and classic Hollywood noir, into a complex study of moods and relationships. Each woman will find herself hopelessly entangled and impugned in each other’s past transgressions. An all-too-rare cocktail of cinematic know-how and genuinely touching human drama.

Who does she think she is with her strappy sandals and emotional steamrolling? And yet… Before Paula is molested she visits Agustina with her aunt and mother. Ardbeg & LWLies Present: The B-Movie Monsters That Time Forgot! The apparition of Irene appears first to Paula’s caretaker Agustina (Blanca Portillo), the daughter of a deceased village neighbor.
Of Raimonda’s home village it is well-known that the men die young and the women live long. If you’re interested, other awesome Spanish films to watch include: Familia by Fernando León de Aranoa or El Methodo by Marcelo Piñeyro. Volver is flamboyantly conceived – full of visual cunning and conceits – but it’s filmed with sincerity, at times a confessional simplicity that’s both poignant and elegant. We want to hear from you! How the dead, memories of them, and the deads’ own memories intertwine is all important, and is wickedly lampooned in the memorable opening scene, of an army of women villagers cleaning and polishing headstones in the local necropolis-like cemetery, as if pantomiming a Roman orgy. Almodóvar has said that he brandishes actors like weapons; well if that’s so, Penélope Cruz is his nuclear button. In a rare intrusion, they stare out of the screen like a herd of ostriches, or a gaggle of schoolboys caught in some guilty act. interviews

Written by Carmen Herrero. Or did they? The town also has the highest rate of insanity anywhere in Spain -– people are frequently driven mad by a powerful sirocco-like wind that blows only there.

WJEC A2 Film Studies: Volver can be studied in relation to the small-scale research project in FS4, Film: Making Meaning 2 and in FS5, World Cinema, alongside focus film All About My Mother or earlier Almodóvar films from the ‘new Spanish Cinema’ of the 1980s. Raimunda’s sister, Sole (Lola Dueñas), runs an illegal salon from the flat where she lives alone, abandoned by her husband two years before.

Pedro Almodóvar’s Volver is a woman’s world to the quick. Volver Study Guide – A Level Spanish.
Lola Dueñas There’s so much to drink in, but you worry that Almodóvar isn’t the man to excite the masses.

Got that? The opening scene is set in La Mancha (Almodovar’s birthplace), at a cemetery where Raimunda (Penelope Cruz) and her sister Sole (Lola Duenas) fight the wind to clean the gravestones of their parents, who died in bed in a fire. An introduction to the flamboyant world of Pedro Almodvar; including exercises for use in class and ideas for research topics. Pedro Almodóvar’s Volver is a woman’s world to the quick.

Feminine solidarity in Volver » Urgent anyone doing spanish a level please help » Edexcel Spanish A Level Unit 4 - 22nd June » Anyone doing spanish a level yr 13 pls » La Casa Bernarda Alba Study Help! When Raimunda comes home from work to find her daughter has stabbed Paco to death, mother quickly invents an alibi to protect her daughter, and assumes the guilt herself. Of course no one is surprised to hear this. Where some of Fassbinder’s most memorable work was inspired by Douglas Sirk, Almodóvar pointedly steers his audience to Mildred Pierce. Watch the first trailer for Pedro Almodóvar’s Julieta. For a lot of directors, that would be enough. Alberto Iglesias provides a lush, orchestral score, and Cruz’s character sings (or lip-synchs) the show-stopping title song “Volver,” after a long day (in another plot strand) feeding a film crew in “her” restaurant (perhaps channeling Lotta Lenya as Doris Day). Twice other characters comment on them, while the director stares goggle-eyed overhead as she washes up, gold chains lost in an abyssal cleavage. Though it has a toe dipped in the twenty-first century (Cervantes’ windmills are sleek new turbines) the character of the place is little changed in 400 years. The tension wavers delicately between farce and horror.

If anything, Volver is Cruz’s bitter rebuke to Hollywood – to Woman on Top and Captain Corelli’s Mandolin, to the whole TomKat, A list, Brangelina bollocks of it all. Because it feels like a finger pointing out of the screen – useless, horny, drunken layabouts. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. When Raimunda is around, ghost mom hides under a bed, coming out to help only when Raimunda’s teen daughter Paula (Yohana Cobo) claims to have stabbed Raimunda’s husband, Paco (Antonio de la Torre), when he tried to rape her. Variations of bright reds saturate the screen, over and over, drawing attention to the also lush cinematography of José Luis Alcaine. If you wondered about her then, if you carelessly imagined, should you see yourself in Paco’s lip-smacking look?

They cook and cluck and kiss and, as the occasion demands, they kill. Deftly and with deceptive simplicity, Volver begins as a retelling of Mildred Pierce. Her husband, Paco, slumps on a sofa drinking beer, grabbing sly eyefuls of his teenage daughter. It refracts the gaze of the cinema screen, sending it spinning across genres like shafts of crisscrossing light. LWLies Recommends, Review by Matt Bochenski

With the help of six extraordinary actresses, who shared the acting prize at Cannes, Almodovar crafts one of the year’s best films. It means ‘coming back’ in English. She’s a towering, terrifying monument to femininity, an effortless multitasker who shops and cooks and digs unmarked graves while breaking only the most serene of sweats. The melodramatic foreshadowing preceding this moment moves between farce and horror. Raimunda has a sultry, kitchen sink sexuality that strains the fabric of the screen just as her breasts billow dangerously over the edges of those plunging necklines. It means coming back, so how is Volver so fresh, so inventive, so utterly alive with the joys of cinema?

As the films builds, a subtle shift takes place, and what seemed sexy and modern as Raimunda strutted down the street suddenly looks trashy and narcissistic. Plot is merely Almodovar’s way into the souls of his women. With Volver Spanish director Pedro Almodóvar seduces his audiences more subtly than in his previous work. With a string of masterworks stretching from Women on the Verge of a Nervous Breakdown to All About My Mother and Talk to Her, Almodovar is a filmmaker worth following anywhere. Lastly, the ensemble acting is superb — Lola Dueñas, Blanca Portillo, Chus Lampreave and Yohana Cobo each turn in complex and well-tempered, if less flashy performances. Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them.

The womenfolk soon find it scandalous, but not in the least improbable. Fri 25 Aug 2006. It means ‘coming back’ in English. The legendary Spanish filmmaker throws open the doors of his Madrid work space to the hungry eyes of LWLies. “This is a man’s man’s man’s world,” he sings, but James Brown didn’t hear the howling of the East Wind that drives people insane. It’s the small details that make her – the ragged handkerchief whipped from her bra, or the fact that she drives her older sister’s car. Volver is a film cut like glass. Almodóvar is an urbanite by habit, tilting at the absurdities of Spanish society. “This is a man’s world,” he sings, but James Brown knows it wouldn’t mean nothing, nothing, not one little thing without a woman or a girl. Paco later masturbates when his wife rejects his sexual advances (and this on the same day Paco has been fired from yet another job). You’ll laugh, too — wildly, helplessly — because to Almodovar, laughter is life.

I have said goodbye to something which I had not yet said goodbye, and needed to.”. If there’s an ambivalence to the film’s thematic focus, what’s not in doubt is that Volver is a prodigiously well-made movie, though not always in the ways you’d expect. Recommended for students and teachers of A Level Spanish. In the capital, trash TV creates a modern mythology of better living, but in the countryside old ghosts still walk the streets. In Conversation. Agustina sets off on a quest to learn the secrets of the dead, and may face a showdown on a nationally broadcast trash TV talk show. What arrogance to deny it when she hears of the affair that Agustina’s mother and her own father were conducting. How we trained the cockroach in Saint Maud, Riz Ahmed and Bassam Tariq on the personal journey of Mogul Mowgli, African Apocalypse and the painful legacy of ‘Heart of Darkness’. Critics have esteemed Volver a more mature, if lesser film, and therein lies its seductive charm – it is an impossible hybrid, (in the words of at least one observer) an epic comedy. You do not want to miss this one. A single shot from Volver illustrates what sets Pedro Almodóvar apart from other filmmakers: About halfway through, the film pauses for a long close-up of star Penélope Cruz. In returning to La Mancha, the town where his own mother lived and died, it’s as if the arch provocateur has rediscovered something of his own Quixotic sensibility. “Through this film,” he said, “I have gone through a mourning period that I needed.

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