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Brilliant in gloom
Gregory 2022-04-19 09:01:57
Amo's film, the content is full of gloom. Under such a subject, he uses bright colors, grotesque costumes, strange encounters and flowing narratives to make all the women in his films, including a few men, so gorgeous. After I'm used to seeing "art" full of amber yellow and overflowing blue, I still prefer colors like Almodovar, like some Spanish oil paintings, or their home decoration, there is always such a smell Vivid and bright, just like the blooming lives of the women in his films. "All About My Mother" is the 5th Armour movie I've seen, and it starts a little like "My Mystic Flower" (or should I say the latter is like it), but it starts with Manuela's son's car accident. After she died, and she went to Madrid, the story really began. Her transgender friend from many years ago, Ayue, is a happy person who "makes it his duty to please all beings". Lola, a former Argentine transgender man, has a child with a young nun, and infects her with AIDS. … The film overflows with Manuela's great maternal love, and when she finally adopts that child, a new cycle seems to begin. When she returned to Madrid two years later, Lola died and everything seemed to have changed. The only thing that remains unchanged is the fate of all those women, whose lives are still blooming in the chaotic world, who repay God's gift of their gender with their unique female power.
Extended Reading
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Duane 2021-12-13 08:01:09
It is not only the reality on the timeline, but also a stage play with a series of events compressed, and there is also the possibility of a play in a play. The suspiciousness of the text always exists, and it has become a unique pleasure. They all arise from men (the death of the son, the illness of the father, the escape of the boyfriend), but they are only related to women. Their identities change among daughters, lovers/wifes, and mothers, and they are actually "sisters." The red design looks like a flower in full bloom.
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Camryn 2022-03-27 09:01:06
Vigorous women, suffering and dignity flow through them like a red river, whether it is a daughter, a mother, or a mother or a daughter. Gender is a kind of performance, and this postmodern consciousness is used lightly in a story like this about fertility and inheritance, guilt and forgiveness, and when I watch it, I constantly reflect: Is this a 1999 movie? Ashamed of my originality. The play is so charming. The father's character is missing throughout the film, either abandoned or forgotten, until he becomes a feminine word to return.
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Sister María Rosa Sanz: I'm sorry about my mother. I'm sorry.
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Huma Rojo: Whoever you are, I have always depended on the kindness of strangers.