1987: Carmen Maura in "Law of Desire"

Each month before the Smackdown, Nick Taylor considers alternates to Oscar's ballot...

I bet Pedro Almodóvar's filmography would be a fun one to watch in order. His visual ideas and narrative fascinations recur throughout his films, yet his deployment and examination of them take on different textures at different points. Murder, art, cinema, romantic passion, heartbreaking yet inextricably devoted family ties, queerness, as filtered through the generic keys of farce, melodrama, and thriller, it’s all there from his earliest works to last year’s tremendously moving Pain and Glory, each film recognizably guided by the same hand. There’s great fun to be had in watching different stylists and performers interpret Almodóvar’s very tricky vision, and no collaboration largely specific to the earliest stages of his career is quite as gratifying as Carmen Maura’s heroic work with him throughout the ‘80s. 

Granted, I’ve only seen three of their six collaborations in this era - What Have I Done to Deserve This?, Law of Desire, and Women on the Verge of a Nervous Breakdown - so if the first few aren’t up to snuff I’ll amend this. But those films are colorful, highwire efforts whose successes are as much the result of Almodóvar’s inspired writing and direction as Maura’s brilliant acting. Law of Desire provides her the least farcical, most dramatic role of this trio, as well as the only instance where she’s not the main character...

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Pedro Party: What Have I Done To Deserve This? & Volver

It's a Pedro Party. We're celebrating Almodóvar each day as we count down to Cannes 2017. Here's Daniel Crooke.

Women hold the universe together according to the peacock-feathered films of Pedro Almodóvar, and never more earthily or elegant than in his mirrored portraits of multitasking matriarchs putting out the fires of the men around them: 1984’s What Have I Done To Deserve This? and 2006’s Volver. Both domestic dramas with a hint of the supernatural, they showcase a pair of imperfect pragmatists – respectively, Gloria (Carmen Maura) and Raimunda (Penelope Cruz) – caught in the crucible of their everyday lives with no signs of slowing down, spinning an interminable amount of plates only to wash them straight after so they can serve their families dinner on time. While their inattentive lazybones husbands bark orders from the couch and fail to see the strength beyond their busts – no matter, as they’ll soon both be dead– Gloria and Raimunda are the breadwinners, juggling odd jobs and managing the affairs of family and friends to simply keep the lights on.

Strikingly feminist with an emphasis on the superhuman virtues of intergenerational sisterhood, What Have I Done To Deserve This? and Volver display two working women hustling on the verge with no time for a nervous breakdown...

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Pedro Party: Losing Our Minds Over "Women on the Verge of a Nervous Breakdown"

We're celebrating Pedro Almodóvar all week. Here's Spencer Coile on his first Oscar nominee... 

Almodóvar is always at his best when also at his zaniest. Through a healthy mix of wacky characters and a unique color palette, he manages to imbue his stories with enough humor, drama, and wit to make any skeptic reconsider his artistry. Such is the case with his 1988 film, Women on the Verge of a Nervous Breakdown. Telling the story of TV actress Pepa (Carmen Maura, Almodóvar most-enduring muse), we are plunged into a world of absurdity, loss, and the cocktails we make to cure us of our loneliness. After serving as his international breakthrough, receiving a Best Foreign Language Film Oscar nomination and inspiring a Broadway musical of the same name, it is no surprise that Women on the Verge has secured its place in the top tier of Almodóvar's filmography... 

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Pedro Party: The Outrageous "Dark Habits"

We're celebrating Pedro Almodóvar all week. Here's Nathaniel R on Dark Habits (1983)

Julieta Serrano and Marisa Paredes in DARK HABITS (1983)

It's a Pedro Party! For the next week we'll be celebrating the career of the great auteur Pedro Almodóvar. We were just discussing which male actors we'd love for him to work with but let's let the official party begin with one of his nearly all-female efforts Dark Habits. His 1983 "pelicula" is about a cabaret singer Yolonda (Cristina Sánchez Pascual) who is hiding out in a convent of wacky nuns. But let's not confuse the movie with Sister Act because it would eat that 1992 comedy and then apologize sheepishly over a cake and acid dessert... 

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Actresses Adorn the Cannes Competition Posters

Daniel Crooke, here, nursing a serious case of intercontinental jealousy. Yesterday marked the kick-off of the 69th Cannes Film Festival with a typically out of competition Woody Allen picture (Café Society, met with polite nods and a lingering line of extra-textual inquiry) and today George Miller and his jury of wisecrackers and Kikis hunker down for eleven days of cinematic deliberation. To those of us salivating across borders for news of the Farhadi, Arnold, Dolan, or Almodóvar, let’s celebrate with one of Cannes’ greatest gifts: a proud tradition of actress-heavy posters. [More...]

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