Pablo loves Juan but Juan is lukewarm about the relationship. Antonio becomes obsessed with Pablo after one evening intended to be a mere one-night stand. Paralleling this dangerous love triangle is the story of Pablo’s sister Tina, a transgender woman about whom Pablo is writing a play.
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80s Pedro! And from what I've read, the first of his films to take Queerness as its subject. His approach to drama is always a bit loopy, less like a 3-act classic and more like the world's smartest, most aesthetically pleasing string of soap opera episodes. Moment that brings it together: the hero throwing his typewriter—a device that tangled his art and his sex life—out the window in a glorious explosion.
Beautiful film. It had that experimental side that all youths do share whilst the youngster self is king. I like it how he did experiment with his medium, whilst being innovative, marketable and a über-author at that. I'm glad my sunny peninsula has such a living genius that is known abroad. Other than Europa. That even "the academy" can and does respect to the point of awarding such a prize as...great film!
I do love me some queer melodrama, and Almodovar pulled it off splendidly, with a fresh take, and without killing, as I dreaded, the transwoman. Funny, sweet, and entertaining. Did not expect the ending.
That which was established in Matador was further developed with this film. This one goes a bit harder down the soap opera road than the thriller road. Loaded with style, it would take a while before he reached full mastery in the late 1990s and early 2000s.
Somehow lacks the charm of Almodóvar's other films. I felt the story took quite a while to get there. It's not as funny, but there is enough melodrama. So in a way, it's not a comedy, nor a drama, nor a thriller. It is definitely very sexy, but there is not much else to the main story. I felt Maura's subplot was far more interesting, and more could have been done with her story. Overall, good, but not great.