Pain & Glory

Though Pain & Glory is a too typically Almodóvar for my taste, his fans would be more appreciative. A retired film director portrayed by Banderas is going through physical suffering while remembering his childhood with his mother Penélope (the most beautiful, poetic part of the film) and meeting people who are important in his later life. The film offers nice colours in the Almodóvar style, autobiographical emotional bits, another interesting role for Antonio, and yet it still left me cold, despite its idea that movies are the nicest thing in life. [Cannes] (05/19/2019)

Lately, I’ve got a feeling that when I watch a new film by Pedro Almodóvar, I’ve already seen it before. I wonder if it’s a sign of creative recycling. Antonio Banderas is not bad here, but the whole film is rather average, not really about art but about Pedro’s extravaganza and his need to express himself by filmmaking once in a while so that he can let us alone for some time after that. And because he’s a national artist, Penélope and Antonio are still willing to help him out with that. (01/27/2020)

The beautiful thing about Almodóvar is that he makes his films as a loose auteur series. And if he's working with Antonio Banderas and Penélope Cruz again, it's like reuniting with old friends. Thus, the basic comfort feeling is guaranteed. Everything else is secondary and yet again great, autobiographical, full of nostalgia, memories, film sets... There is no shortage of unexpected love. I'm satisfied. (07/03/2022)

Good old Pedro Almodóvar tells a melancholic tale that could be based largely on his personal memories and experiences. That's how believable I find Pain and Glory. The casting of Antonio Banderas in the lead role was also very useful. It is a calmly flowing film with strong emotional moments that will be appreciated especially by those who have experienced something in life. Slowly but surely I am becoming one of them. (85%) (08/26/2021)

Salvator Mallo, a film director who still remains creative but whose failing health and therefore his psyche have not allowed him to sit in the director's chair again, returns to his childhood memories and to his late mother. Even though he is in a lot of physical pain and has said goodbye to many people in his life, he suffers more from this loss than he is willing to admit. Whether in his memories, in his work, or in real life, Salvator returns to the people who meant something to him. It is precisely these scenes that are the most intimate and the most moving, and give the film an unusual subtlety. Also worth highlighting are the sets, the play with colours and the way Almodóvar incorporates them into every shot. From the water drawing effect in the opening credits, to the colourful and mottled clothing, to the various mosaics (a blue pool mosaic similar to a kitchen stove). Overall, it is a visual and emotional treat for the soul with a rather surprising ending. (02/15/2020)