If you use one sentence to describe "Living Color and Fragrance", it must be that I walked into nothingness, and you came from nothingness.
The film begins with the arrival of new life, at a time when Madrid is entering an extremely turbulent time, which also makes "rebirth" an irony.
In the years that followed, this new life became a witness of the times, growing, participating, experiencing, and being hurt.
His name is Victor, he fell in love with Elena, who he met by chance, and went to prison for accidentally injuring the police. After being released from prison, he wanted to get revenge on Elena, only to find out that he still loves Elena.
Soon, their child was born, just like Victor back in the day, and can't wait to come to this world.
All seem to be carrying some secrets in this movie.
In fact, everyone has their own historical trajectory, not so much a secret, as life itself is like this.
For example, simple Victor, love and hate are straightforward. The depressed Elena was not happy at all because she married the injured policeman because of guilt. Twisted Sancho, always violent towards his wife until his death.
On the other hand, Victor's feelings for Elena seem a little incredible, when everyone is trying to cover up the truth and secrets.
Victor has no reservations and never even rejects everything that happens.
All of this constitutes a spiritual idealist, but if you tear off this fig leaf, everyone except Victor is a loser in real life.
The subtitles at the beginning of the film have already explained the background of the story, and the implication is that Spain will enter a period of panic.
The arrival of Victor at this time brought hope to the long panic that followed.
Like people, the times have to move forward, and no one knows what awaits us ahead.
However, it doesn't matter, what should pass will always pass, and what should come will come sooner or later.
At the end, the birth of Victor and Elena's children also means a new life, a new era, a new life.
Every time I watch a movie, I always feel that every movie is different, but later I find that it doesn't seem to be the same.
Some movies are undulating on the surface, but quiet on the inside; some movies are calm, but there are hidden swirls; some movies are majestic, but there is no turning point; some movies are shallow, but lingering.
But in the end it all went back to the sea.
Out of all Pedro Almodóvar's films, "Beautiful Colors" and "Tell Her" are two of my favorites.
Victor in "Living Colors" is innocent.
Benino in "Tell Her" is affectionate.
Compared with Almodovar's other films, these two films are more universal in both narrative and expression.
As we all know, Almodovar is a director with the theme of "strange love" and "sadomania", and many of his films are very straightforward and naked.
"Living Colors" and "Tell Her" are exceptions. Although they are also "strange feelings", they are more common.
Perhaps it is also an ordinary thing, the closer it is to the truth that I want, so these two movies will become my favorite.
I have always felt that large-scale shots in films have only two meanings. The first is to increase the reality of the film. With the occurrence of the storyline, some physical contact will naturally occur, which lacks aesthetics, but is more realistic. The other is for expressing meaning, creating ritualistic physical contact, in order to increase the irony of the film or the ritualistic sense of behavior.
In Almodovar's films, both meanings are present, so his films are flamboyant and not vulgar.
Although it has been criticized, it can still make the audience flock to it.
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