To watch Almodovar is like to watch Woody Allen. There is no room for a literal comparison - just curious about that particular feeling that you know the person who tells you from the screen, and at that moment you want to be surprised with something. To keep the fire of thrill, to revive that strange feeling that makes you keep an eye out and sink into history. As we have been involved in dozens of eccentric-crazy and over-interlaced Allen's storylines, so we have been part of Almodovar's many puzzles. And honestly - I decided to watch his film with the clearest possible consciousness. It worked!
And for the purpose of the "uncontinuity with information" experiment, maybe it's a good thing that I have not read Thierry Jonke's novel "Tarantula" yet. It builds on its plot Almodovar, giving the actors space as if they were birds, clinging to golden threads to his clever fingers - "So far, my dear ones, you are free in the limitations that I place!" He acts as a sculptor just outside the peculiar a force field created around the action in the movie. As if the actors are trapped by their own will, from which they can only be released if they achieve the best reincarnation in the role that Pedro likes - and it is his approval to bring them joy, strength and confidence, and they will making them even better actors. But this almost magical, circular interconnection I realize later. At first glance, the film sparks curiosity with history - a brilliant plastic surgeon attempts to create a "new generation" skin. Gradually, the viewer reveals his true motives, the blows of fate in the past, and the human relationships, which appears to be soaked with bitterness and poison, imperceptibly adheres to the faces and events to become a healthy cocoon that must necessarily be cut before destroying everyone. Cruelty, conceit, desire for vengeance, unrepresentative decisions made - that's the character of Antonio Banderas, who once again proves how wonderful actor he is when he gets into the right hands. His victim, a model, a thirsty dream and his real talent and talent, is the heroine of Elena Anania - a visual reincarnation of his beloved wife, whose content is able to scare, surprise and achieve retribution.
The two actors deal phenomenally with their assigned tasks - I believed them at all times, just watching to find out. All the time I was following the different "why this happens", "what will happen next", "how will the others react," "is this decision right? ... I realized a lot later that these were not the issues with which analyze one (sequential) movie. These are astonishment, anxiety, hesitation, reaction to life situations. These are our common questions to ourselves when we communicate with each other every day. Which might mean I spoke directly to Almodovar? Challenging, isn't it? There is no point in telling more details of the story of the movie - it will only spoil the pleasure of watching. Because above every possible sentence, a "spoiler" is watching. I will only add that as always the unique Marissa Paredes and the young Jean Cornette are worthy additions to the film's team. "The skin I live in" is an impartial proof of the effective action of the brilliant manipulative machine Almodovar, which not only completely controls its means - the plot and the actors, but also captures the attention of the audience. Which in the 21st century is more and more difficult to be surprised or tempted. The experience is unique and every minute is worth it. Because it is intimate-shared. And real. Risk - because otherwise you can not understand what you miss ...
