Julieta decided to leave Spain to Portugal, where he moved the man she loves. Clear the house and cluttered cartons of things and memories, strong traces of a past that resurfaces relentless. A chance encounter with Beatriz, a friend of his daughter’s childhood, convinces her to stay in Madrid. That meeting is a sign, what lies ahead for thirteen years, the time that separates it from Antía. Prodigal daughter playing forever, Antía did lose all trace of self to that mother who blames blameless. Julieta waits as Penelope hanging by a thread and a diary which plays its history. Then fate gives her a letter.
Something has changed in the films of Pedro Almodóvar. Nothing pastiche Hollywood, no narrative or outpouring profusion of characters, intrigue, situations, secrets revealed, Julieta is a dry film, simple, essential. In Julieta there’s that life, unvarnished. With fiction and its staging Almodóvar comes to terms in the prologue and in a close-up on a red fabric reminiscent of the drape of a curtain. But the illusion lasts a moment and what looked like heavy cloth proves light fabric on a beating heart. The heart is to Julieta waiting, waiting for all my life that her daughter returns like Ulysses, argues that young teacher of ancient literature at a high school.
Inspired by three stories of Alice Munro, assembled and condensed together, Julieta is not a melodrama, but a tragedy that fate plays a key role. After the interlude of The passengers lovers, the author returns to the female portrait measured this time with fate, with a Mediterranean without light, stirred by the cruel and capricious that swallow men or spiaggiano them in an endless exile. No theatrical artifice intervenes to sublimate the affliction of the title mother Almodóvar chooses to interpret by two actresses, Emma Suárez and Adriana Ugarte, avvicendandole in an anthology fitting. temporal ellipsis stirs beneath a towel rubbed the hair of the young mother dell’Ugarte and rises on the aged face of Suárez, imprisoning forever the protagonist in a skin that is no longer that of desire. The one on and under bright bleached hair is the perfect enactment of nightlife and Baroque Almodóvar film, in which the viewer repairs falling in love Julieta as a fisherman caught the train, the other off the guilt, loss and loneliness lives a blank exile on earth, a coma suspending the waiting pain that someone talk to her. Confined to his apartment and ‘judged’ three times in a position to young woman, wife and mother from the man of the train, the maid and the director of a spiritual group, Julieta not forgive and how a gene sends his daughter to blame that keeps her away from the parent for thirteen years.
inner journey back in time to the event that caused the life of his main character, Julieta is a film about guilt, driving force of the film and moral disorder that prevents heroin to take advantage of the gifts of life (Lorenzo). Julieta has not committed no ‘crime’ and has nothing to be served but can not help but feel responsible for the suicide of a stranger who had refused to listen to train. The train on which is born the great carnal love and consolation for her partner and father of her daughter. Sentiment also defeated him by the certainty of a new, and this time inconsolable fault. Make love to ward off death, Matador the author does not cease to combine this principle to which adds the impossibility of escape the fate. Including flashbacks, acceleration and ellipses that bridle, wither and consume the characters, Julieta pinning the figure of Hitchcock on the character of Rossy de Palma, home of the ‘first wife’ swooping on the drama of the noir shadows and introduces a charmer sea and announcer shipwreck. Alberto Iglesias harmonizing the score with dramatic notes of silence, Almodóvar grabs the grace of gravity between the fund and the glow of the black shape.