jenni

Live Flesh

o parto como metáfora política queria entrar no cérebro do almodovar por 10 minutos que genial

Aaron. ⬛🌫️⬜🟪

Live Flesh

- javier bardem is so damn fine. - i really like the score of this one so far. - victor is stupid. - i think one character detail i've enjoyed from almodóvar's work is that, oftentimes, our protagonists are complicated people. the most recent example i can give is leo, from the flower of my secret (1995), who goes through a lot with the personal aspects of her career, while tackling the idea of her marriage being over. it's similar with victor, so far. he made a great mistake, based on the passion he gained towards this woman he didn't know, and he didn't handle the situation well, at all. i feel like he'll continue making great mistakes, even after getting out of jail. but, like leo, i'm not sure i'll be able to really dislike him--not yet, at least. he's a creep, for sure. but, there's occasionally this sad air about him, and it's something that's curious-yet-unspoken. it gives more to him than just the anger and obsession that drives him. - i also really like almodóvar's treatment of bardem's david. he could've taken a darker turn with that character, but instead exhibited both resilience and progression. - i spoke too soon. - what's interesting, is that almodóvar and bardem exhibit how quickly that resilience and progeression can regress. bardem's david makes himself even more part of victor's game, taking a more active position than neri's elena. it makes more sense, since victor's the reason david's in the wheelchair. - ooh, that sancho twist changes everything. - so, it comes full circle. - almodóvar had the men messy in this one. - this ultimately felt like an odd growing tale for victor. he was so naive for most of the film, but i think learned more during his time in jail, his time with clara, and most likely when he was with the kids. he was put into the mess that was clara, david, and sancho's affair--suffered for it. - i'm not completely sure how i feel about this one. i liked more than my initial matador (1986) viewing, but it reminded me of how i felt with my first law of desire (1987) viewing: it felt rushed in the latter part, and i wasn't all that satisfied by the conclusion. - i plan to rewatch law of desire soon, so maybe i'll be able to clarify my feelings a bit more.

nathansnook

Live Flesh

"No one ever owns his youth or the woman he loves." Melodrama is where it's at! Outrageously broken bunch in a love pentagon that unfolds--no, collapses--into a shitshow of screams. Sexy. Charged. Unapologetic. Yet done with such class. It's incredible that Pedro can tackle everything here while still having fun: In one scene where Bardem says to Rabal, up in arms rolling around on dirt-poor floors in a bro-ish brawl, "Come near my wife and I'll kill you," a sports goal is made on TV and they both cheer and laugh together, liquidating machismo into comradery while still flexing an air of homoeroticism as Bardem drags himself out the door and Rabal resumes to doing a set of push ups. Bardem outshines while Rabal tries to keep up in performance. There's a force to Bardem that carries the film, but Rabal is cute enough in a tussled angel-baby kinda way that his performance is forgiven, especially when his character saves his house from burning down...naked. The night of lovemaking with Rabal, ass up and high in the air paired with a gorgeous 69 shot, proves that Pedro knows what sex and love is. Passion. Fragrant with sweat. It's sex. It's lovemaking. Done with such refinement, such tenderness, that I haven't seen before. It's either/or for most auteurs, but Pedro pulls it off with such ease, such class, that it comes off as honest. Love how the entire story ties together in the end. Though completely literary in its plot and set up, everything works with Pedro's usual use of colors, set design, and caricatures that provoke you to being cornered by fun and seriousness, all in good jest.

DamianSuarez

Live Flesh

Carne y tremura es la visión de la violencia según Almodóvar, es menos ostentosa a nivel narrativo y técnico que sus otras obras pero aún así es la madurez de un melodramático que se acerca a la sima de su carrera mientras afila su técnica con historias repletas de erotismo y melodrama.