Pedro Almodóvar’s Parallel Mothers

Pedro Almodóvar’s new movie, Parallel Mothers comes out in the UK this month. A multi-layered story featuring superstars Penélope Cruz, Rossy de Palma and emerging talent Aitana Sánchez-Gijón, the film tells the story of two women, Janis and Ana as they both give birth at the same time in the same hospital. Melodrama mingles with historical facts as Almodóvar explores themes of trauma, love, Spanish history and family-dynamic.

The New Yorker wrote about the end (spoiler alert): ““Parallel Mothers” is graced by slow fades into darkness—at one point, the camera dives into a cup of black coffee—and the score, by Alberto Iglesias, could be that of a sad whodunnit. The prevailing mood is both beautifully forgiving and ruthlessly unforgetful, concluding in quiet magnificence: we see people from Janis’s town, most of them female, processing with a steady purpose down a country road, on their way to inspect an open grave. Think of them as a squadron of Antigones. No disrespect to Arturo, but Almodóvar leaves us with an overwhelming sense that the pursuit of justice, by right, is women’s work. That is why the movie ends with Cecilia, now a little girl, at a graveside. Welcomed to life as the story begins, she brings it to fruition by gazing down at the dead.”

Another masterpiece by the Spanish greatest colorist and storyteller, Parallel Mothers will leave viewers questioning justice, motherhood and polarising sentiments.