Judging from several songs that the director himself participated in in the original soundtrack of the film, Almodóvar is not a person who likes the deep, nor does he seem to be very idealistic. He likes happiness and straightforwardness, very pop and chaos, using film language to discuss love, spirituality and The birth or death of the flesh, but not in any sense close to that of directors like Angelopoulos or Kielovsky, who elevated storytelling to theological heights. It seems that the difference is that Almodóvar prefers "life" to "death". Probably the reason why Almodóvar became Almodóvar was because "he had so many things to express that he would suffocate if he didn't say it".
Many movies may be the director's experience, and the director may also want to use the movie to make his own destiny clearer.
Looking closely at Almodóvar, the themes he repeatedly talked about in the film are actually very monolithic and concise. Perhaps "Living Colors" can be regarded as a remake of "Tie Me Tie Me", and the endings are all young and passionate Victory, defeat of the moral law. In "My Secret Flower" and "Everything About My Mother", the hospital's rehearsal about donating organs from brain-dead patients to communicate with family members is inserted. The former is just a rehearsal. In "Everything About My Mother", brain death comes to play brain death on the children of their relatives. Since then, "My Mother" has been tossing around to establish a connection with her lover's new lover and child, and her dead child seems to be reborn. In the episode "Tell Her", the "brain dead" turned into a mild "vegetative", but this time the director decided to use the body to awaken the spirit.
The language in the early days is very straightforward, and the camera scenes seem to originate from pure fantasy, as if the director is talking to himself, slightly weird, like unsalted meat, these pure words have accumulated inspiration and become the source of continuous reshoots since then. . Later, the language became more pure and mellow, and the lens was good-looking and slightly commercial.
"High heels", "regression" and "bad education" are perhaps bifurcations of Almodóvar's theme. Perhaps a few closed topics that are not easily extensible.
He likes "life" so much that even "death" creates "life" at the same time, so the ending of the movie is always "death creates life, man creates woman, earth creates spirit" - the ballet teacher's comments on the sleeping Alicia said so.
Therefore, perhaps it is time to refer to the props of Princess Ajekh in "Hazar's Dictionary": "In order to relieve the princess' boredom, the slaves quickly brought her two mirrors, which are on the surface of the mirrors of other Khazars. No difference, they are all ground with large salt crystals, but one side is a fast mirror and the other is a slow mirror.… The fast mirror shows it in advance before it happens, and the slow mirror shows it after it happens. , the time behind the slow motion mirror is equal to the time ahead of the fast motion motion. When the two mirrors were placed in front of Princess Ajekh, she had not woken up, and the letters on her eyelids had not been wiped off. She saw her reading eyes in the mirrors , and immediately died. For the first time in her life she saw the deadly letters written on her eyelids, because the fast and slow mirrors, one after the other, showed her blinking eyelids, and within those two moments she was Dead. She died under the simultaneous blow of letters from the past and from the future..."
I think these are very obscure words. Perhaps the two mirrors ground with a large piece of salt can still be borrowed. One side can be called "Almodovar" and the other side is also called "Almodovar".
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