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FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/parallel-mothers-spoiler-free-review "Parallel Mothers holds an unexpectedly shocking narrative about motherhood, featuring two remarkable performances from Penélope Cruz and Milena Smit. Despite some dull soap-opera moments and a few uninspiring technical attributes, Pedro Almodóvar offers a captivating, genuine, emotionally powerful story that puts the spotlight on imperfect mothers. Boasting clear direction and a no-nonsense approach, the eponymous parallelism is continuously present throughout the runtime, making this a consistent viewing. Definitely, a worthy awards contender for Spain." Rating: B
Parallel Mothers bespeaks a creative fatigue on the part of writer/director Pedro Almodóvar. Not only is it too similar to his very uneven Julieta from just six years ago, but also rather hard to take seriously – and there is no reason that we should have to or even that he would want us to; the Switched at Birth trope is the stuff of soap operas, and that’s precisely why it would work wonderfully, as that sort of material has in the past, in one of his comedies, but here Almodóvar actually plays it straight, and he goes as far as to throw in a Guerra Civil subplot just so there is no doubt that he means business, and that It Would Be Wrong for us to laugh at this implausible melodrama (though it may be the first melodrama wherein a shot of curtains blowing in the wind actually leads into a lovemaking scene as opposed to standing in for it). At least Julieta had the benefit of brevity. Conversely, Mothers has some glaring time management issues that result in an unjustifiable 120-minute length. Consider this: Teresa has to tell her daughter Ana that the play she’s starring in is going on a tour of the provinces, as a consequence of which the former is going to leave the latter alone in Madrid with Ana’s newborn baby. A development that ends up having little to no bearing on the plot, and could and should be handled with a couple of throwaway lines of dialogue, is prefaced by a long monologue from Teresa’s play. Why no just cut directly to the scene of Teresa telling Ana the news? (additionally, Almodóvar milks the ‘mystery’ of the baby swap for all it’s worth; the problem is that it isn’t worth squat because we catch on to it ages before the characters do, and whatever suspense the filmmakers hopes to build amounts to zilch since we’re all just waiting for the other shoe to drop). I’m not saying that the monologue, from a play by García Lorca, doesn’t have some hidden significance; as a matter of fact, I’m completely sure that it has a lot of not-at-all-hidden significance: García Lorca was murdered at the beginning of the Spanish Civil War and his remains have never been found; meanwhile, there is in Mothers some business about the digging of an unmarked mass grave from the first few days of the war that Almodóvar keeps returning to, but where he should have never gone in the first place. On the one hand it draws from cold, hard facts that are fully incompatible with the unlikely events of the far-fetched central narrative, and on the other it is a shameless excuse for a sanctimonious final shot so emotionally manipulative that it needs to be seen to be believed.
In the woman’s room, memories constantly accumulate and disappear like dust. The man spends his time in this room creating futile little games with woman’s memories.
A waitress and expert pie-maker dreams of a way out of her small town and rocky marriage.
When a disc containing memoirs of a former CIA analyst falls into the hands of gym employees, Linda and Chad, they see a chance to make enough money for Linda to have life-changing cosmetic surgery. Predictably, events whirl out of control for the duo, and those in their orbit.
A slacker and a career-driven woman accidentally conceive a child after a one-night stand. As they try to make the relationship work, they must navigate the challenges of parenthood and their differences in lifestyle and maturity.
A young teenage single mother (Maggi) struggling to raise her baby daughter (Lucy) finds the weight of responsibility bearing down on her shoulders. Maggy was forced to grow up before her time. Thankfully for Maggi, her mother is always willing to help though Maggy still lives at home with her mother, it's obvious that she longs to gain some independendence. Meeting Gordon at a local club, who is a few years older, makes a living and has his own apartment. One night, after a heated argument with her mother, Maggi makes the decision to move in with Gordon. Though the pair subsequently make a sincere attempt to be good parents.and do what's best for Lucy, they soon find that taking on the responsibilities of adulthood aren't so easy when you've barely moved past childhood yourself.
As young French couple Gilles and Marion officially separate, we see, in reverse order, the milestone moments in their relationship: Gilles revealing his unfaithfulness at a tense dinner party; Marion giving birth to their premature son while Gilles is elsewhere; Gilles and Marion's joyous wedding; and, finally, the fateful moment when they meet as acquaintances at an Italian beach resort, and their love affair begins.
Two girlfriends on a summer holiday in Spain become enamored with the same painter, unaware that his ex-wife, with whom he has a tempestuous relationship, is about to re-enter the picture.
Nine years ago, high school girl Jeongmin suggested a bizarre plan to her same-sex lover, Yoonseong, that they have a child who looks like both of them. Jeongmin’s wedding, scheduled in a few days, is just the start of that scheme.
With the purpose of recalling a youthful adventure, Enrique, a well-placed merchant, decides to travel around Spain in the company of his wife Alicia and his two daughters, Pilar and Carmen.
Pierre, a professional dancer, suffers from a serious heart disease. While he is waiting for a transplant which may (or may not) save his life, he has nothing better to do than look at the people around him, from the balcony of his Paris apartment.