Parallel Mothers

Pedro Almodovar deserves celebration for so much of what he brings to cinema. Hallmark themes of his such as queerness, complex mother figures and Penelope Cruz doing career-best work are all present in his newest film, Parallel Mothers. But I also want to zoom in on a smaller theme of his work that deserves celebration. Parallel Mothers is the latest in a long line of Almodovar films that demand recognition for services to the colour red.

Parallel Mothers focuses on two women who give birth the same day. Penelope Cruz plays Janis, an established photographer nearing 40. She begins an affair with Arturo, a forensic anthropologist assisting Janis in having a Spanish Civil War grave site excavated. On the day she gives birth, Janis meets Ana, a pregnant teenager sharing Janis’s room. After the birth of their children, Janis and Ana’s paths diverge. But they meet again when Ana leaves home and begins working at a cafe. Janis invites Ana to become her live-in nanny and housekeeper. The relationship between the two of them grows increasingly complex as Ana is friend, employee and increasingly seen as family. Ana initiates a sexual relationship, adding another layer of complexity. Their relationship reaches a complexity breaking point when Janis tells Ana a secret concerning both of them and their children.

Damn, do I love Almodovar films. They’re good in so many ways. Parallel Mothers is a great showcase for Almodovar’s talent and love for writing complex female roles, especially mothers. This film (and much of his work) is such a celebration of motherhood. But he doesn’t do this by making mothers one-note saints. Almodovar’s service to female and maternal roles comes from how much complexity and layers he gives his female characters. Janis isn’t just a mother. She has flaws, hobbies and everything else you’d expect to see in an actual person. Penelope Cruz always does her best work with Almodovar and such is the case here. The marriage between character and performance creates such a real-feeling person.

Janis and Ana’s relationship has more layers than a lasagne. There is a queer element to it, but it’s a small piece of a much larger dynamic. This relationship is complex but in a way that’s almost constantly positive and deeply tender. From the first scene, there’s such kindness and simple, tender physical affection. It doesn’t read as romantic, necessarily. It’s a simply expression of loneliness and finding someone who understands you. For Janis at least, their brief romantic relationship feels more like some wires got crossed in how she perceives and expresses this deep bond she has with Ana. Janis is probably (mostly) straight. But her relationship with Ana is so intense and defies easy characterization. So when Ana offers, Janis take a desperate grasp to categorize by slotting Ana into the lover category. But for these two characters, that’s not the strongest iteration of their relationship.

Even when Ana and Janis come to blows, there’s still fondness and respect. The secret Janis keeps from Ana is major. Despite this secret leading to the breakdown of their complex relationship, it’s not an ugly fallout. These women still respect and probably love each other. In the last scenes of the film, you can see that despite everything, they’re still family. Parallel Mothers successfully plays both sides of the fence with family. Both the A and B-plot of the film deal with the biological bonds of family. But the film also highlights and celebrates Janis’s unusual family of choice which includes Ana, her child as well as Janis’s long-time friend, Elena. The film has such a strong theme of familial love. Motherhood and family may start from a biological basis, but it might not. What is most important is love that echoes across generations.

Almodovar’s complex, emotional story is matched with the man’s incredible ability to set a scene and a shot. This is a relationship and dialogue-heavy movie. Almodovar ensures that even if it’s a series of conversations, the frame remains visually interesting. The set design in his films is world-class. Every frame of this film is full of life, precision and the indelible stamp of someone who cares endlessly. I love watching Almodovar films. If you watch Paralell Mothers on mute, it’s still a treat for the eyes and a showcase of a truly world-class director.

What I love most about Parallel Mothers is that it’s complex enough that it feels limiting to call this a queer movie. That’s certainly not the focus. I love queer films like this; films that are complex enough to not fit into the standard expectation of what a queer film looks like. This is a film that allows its characters, queer and otherwise to have full lives with all the messiness that entails. It’s also a such a celebration of women. So much of this review celebrating Almodovar’s work overall. And I’m not going to stop here. Parallel Mothers is just the latest in a long line of great-looking Almodovar films with complex relationships that celebrate women and queerness. Never stop, Pedro.

Overall rating: 8.9/10

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