One of Spanish director Pedro Almodóvar’s most well-known films, All About My Mother
is an offbeat melodrama with a huge heart. It tells the story of Manuela (Cecilia Roth), a nurse and single mother of sweet-natured Esteban (Eloy Azorin). Mother and son live contended lives of mutual devotion, watching old films together and discussing Esteban’s dreams of being a writer, until his seventeenth birthday. On a trip to the theatre to see A Streetcar Named Desire
, Esteban runs to approach the lead actress Huma Rojo (Marisa Paredes) for her autograph and is run over and killed.
In their final, poignant conversation before he died, Manuela promised to finally tell Esteban “all about your father.” But the film soon makes it clear that women will take centre page, and the film will, as its title suggests, be a tribute to mothers everywhere. Indeed, when a grief-stricken Manuela goes to Barcelona to try to break the news to Esteban’s father, it soon emerges that she’s a trans sex worker, Lola. She proves hard to track down, but Manuela soon meets a host of different characters in Barcelona, including her old friend and Lola’s colleague Agrado (Antonia San Juan), Huma, whose production of A Streetcar Named Desire has moved to Barcelona and who is in a destructive relationship with her heroin-addicted co-star Nina (Candela Peña), and Rosa (Penelope Cruz), a sweet-natured nun with problems of her own. Each of these women represents the different roles and identities women can assume in society – including the identity of gender itself – and how a whole life can go into that role. But each of them is also a complex, unique personality, and together, they begin to help each other with their problems, and to help Manuela heal.
An eighteen-year-old boy falls in love with a nearly eighty-year-old woman. It sounds like a particularly shock-courting premise for a dire gross-out comedy, but the triumph of classic independent film Harold and Maude is that, while embracing the oddness of such an unlikely relationship, it manages to make it convincing and tender.
Rex (Gene Bervoets) and Saskia (Johanna ter Steege), a Dutch couple, are travelling in France when they stop at a service station and Saskia disappears. Dutch director George Sluizer’s adaptation of Tim Krabbé’s novel The Golden Egg is concerned with the aftermath of the disappearance, and focuses on Rex’ obsessive quest to find out what happened to Saskia, but also on uncovering the mind of her abductor.
This will be the first in a series of semi-regular posts inspired by having had several versions of this conversation:
Me: Oh, film/ book/ singer is great!
Friend: Huh? Never heard of it/ them.
Me: Uh, well, it’s… trust me, it’s great. You have to watch/ read/ listen to it/ them.
Friend (unconvinced): Sure.
These posts are going tobe the long and eloquent explanation I can’t think up on the spur of the moment of why X is so great, in the hope that if I encourage more people to watch/ read/ listen to it, I’ll run into that disappointing ‘huh’ less often, because I won’t be alone in my love.
As the weather turns autumnal, cinemas start offering their quality films again, hoping people will come in the from the cold to watch the first offerings of the run-up to the Oscars. Here are the five films coming out in the UK this autumn that I’m most excited about: