Almodóvar can always tell stories of thorny thorns on the avenue, and the overcoming of thorns depends on the fixed form of feminism and color aesthetics. "The Skin of My Habitat" also follows the "modova style" route of "plain telling of bizarre stories". Many seemingly heavy topics in "Everything About My Mother", "Speaking to Her" and "Return", such as promiscuity, drug abuse, transgender, incest, and sexual harassment, are condescending and real-world in order to highlight the value of women. Animalism and violence. In Modova’s eyes, “women can provide me with comedy material, while men can only let me write tragedies.” However, animality and violence are always inextricably linked to the role of women. The relationship did not make women lose the initiative in a passive position. For example, in this film, Vera finally kills the instigator who randomly disturbs the trajectory of his life, chooses to recognize her mother, and chooses to face the real "me in the mirror". Possibly, the identity of "he" and "her" in Vera's gender consciousness, as the shortest part of self-recognition, has been vacillating in Rob's pathological treatment, but there is no doubt that the final ending marks "daughter body, boy" The spiritual victory of the "heart" and a sound personality. Vera's strong choice as a "woman" is obviously better than the "drug addiction leading to a sudden change in destiny" as a "man".
Compared with the optimism of transgender people in "Everything About My Mother" with a relaxed and humorous attitude, this film emphasizes the tragic color of transgender people. After all, the former’s optimism comes from willingness, while the latter’s sadness comes from a nostalgia. The middle-aged man of his deceased wife's daughter showed stern revenge and wishful thinking. However, this kind of revenge, nostalgia, grafting, desire, or the madness of falling in love with his own work is restrained and flattened and self-controlled. All emotions are inwardly and not released. All of Rob's joy and sorrow cannot be compared with his expressions. Perforated in the flesh and flesh, this may be the unbreakable truth that Modova, the "strange narrative master," believes: looking strangely on the shoulders of giants, not overly sorrow and joy, but can also face the curiosity without changing the color. The soundtrack of the film is very emotional, and it is an indispensable aid to the film that is not overly expressive. Banderas, like Brosnan, is more mellow as it gets older. The first movie in 2012, I hope to have a good quality. This film is not disappointing.
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The Skin I Live In reviews
