Out Friday | Cert: 15 | ★★★★✩
Two expectant mothers meet in the same hospital room and form a lasting bond in legendary Spanish filmmaker Pedro Almodovar’s sumptuous new drama. This is Almodovar’s 22nd film sincehis 1980 debut Pepi, Luci, Bom and comes just 3 short years after the release of his Oscar nominated semi-autobiographical drama Pain and Glory.
Janis (Penelope Cruz), a successful editorial magazine photographer meets forensic archaeologist Arturo (Israel Elejalde) during a shoot. After bonding over their mutual interest in disappearances during the Spanish civil, Janis and Arturo start a fleeting affair which results in Janis getting pregnant and later deserted by Arturo who is married.
As she awaits the birth of her child in hospital, Janis is put in the same room as pregnant teenager Ana (Milena Smit). The two bond over their situations and promise to say in touch. Months later, Janis starts to suspect that something isn’t quite right when she realises that the baby she’s been handed at birth may not be hers. Meanwhile, having fallen out with her actress mother (Aitana Sánchez-Gijón), Ana moves in with Janis and the two enter into a relationship. Meanwhile, Janis is consumed by guilt and haunted by a dark secret she’s keping from her new lover.
Almodovar presents another masterpiece with a deliciously composed colour palette. He delivers a story that feels both ludicrously melodramatic, yet totally believable, which in true Almodovar style, culminates in a jaw-dropping revelation. With a dialogue peppered with introspective angst, Parallel Mothers manages to be both thrilling, methodical and unapologetically accessible.
Cruz and Smit give two fabulous performances as does long-time Almodovar collaborated and muse Rossy de Palma who plays Elena, Janis’s best friend and boss. Elsewhere, Aitana Sánchez-Gijón is exquisite as Ana’s insufferably uppity bourgeoise mother, while Israel Elejalde also shines as Arturo.
Overall, a robustly acted, expertly executed and not to mention truly gripping drama mystery from the master of chamber pieces. Unlike most Almodovar offerings, the humour here may be kept at a minimum, but is always at hand to offer a welcome respite from the truly harrowing themes explored here.
