All about Almodovar - with lover, with childhood, with mother. Lao Mo, who is about to get old, completed his "Eight and a Half" series with rants and complaints. The first half is a painful body. Lao Mo spit out serious illnesses like the name of the dish, and used 3D animation to draw a splendid and pathetic picture of a refugee in physical decline, to complain about his grief and anger for being caught off guard. In 1982, Antonio Banderas, who has been the old Mommus since the beginning of "Passion Labyrinth", this Spanish ham who seems to be always angry and always rippling, also removes the muscle mask this time, and uses his personal experience of myocardial infarction as the cause. Physical decline leads to the stuck state of old directors who have been exhausted by inspiration. Tortured by his illness, he was so ashamed and angry that he fell into the evil realm of K-fans. Zhenzhener "reincarnates in heaven and never forgives anyone". Back then, he broke with his lover because he found out that he was taking medicine. The film uses a pair of old lovers to talk about the relief and reconciliation of the years of riding bamboo, and hastily transferred to the glory of the second half.
Infected by a childhood painting, the old director who had quit drug addiction recalled the dizziness when he was opened up by his youthful body in the fairy tale white cave house, and recalled the care and tolerance of motherhood for him, and officially dealt with it. He regrets his mother's unresolved guilt, and after re-arranging the piles of his old age, his long-depleted heart re-arches the small flame of creation. As a pioneer of LGBT, Mo has never been anxious about the identity of marginalized people in the film, but directly expressed the absurdity and ecstasy of life. In an issue of "Three Walks", Mr. Li Yinhe said that civilization means the complexity of classification. Almodóvar's soul is androgynous, and it's his honor to put this instinct in the film and make it shine as brightly as possible.
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