TORRENT

24/22

Both had Julianne Moore in mind

Scenario

Ingrid and Martha were close friends in their youth when they worked together at the same magazine. After years of not having contact, they meet again in an extreme but strangely sweet situation. When Pedro Almodóvar sent Tilda Swinton the script, he asked her who should play Ingrid.

Seen in The 7PM Project: Episode dated September 8, 2024 (2024)

Almodóvar’s cinematic worlds have always been interesting to be in, and his first English-language feature is no exception, with all parts of the art world beautifully present and presented: literature is read (Joyce), books are never far away anyway, architecture, furniture, paintings, decoration, everything points to an intellectually sophisticated world that any sophisticated being in this world would love to be a part of. Yet despite these constant references to works of art, the film feels empty and hollow, not particularly intellectually and emotionally engaging. Iglesias’s music is beautiful, the opening credits are quintessential Almodóvar, and Moore and Swinton are two of the greatest actresses alive, but the script is too simple to be anything more than a straightforward stage play.

Swinton, for example, is a former war correspondent, but that never adds anything interesting to the film

The same goes for Moore, who is a writer, but almost nothing is done with that element here. Another interesting part of the story is where Swinton seems to manipulate Moore in her sense of guilt and goodness, but that too is too underdeveloped. Almodóvar’s direction of Moore and Swinton is too absent overall, making it hard to know what he wants from them.

This is a film in which all the parts work relatively well, but overall the whole is disappointing, and that is unfortunately the director’s fault

(See how Fincher, in Swinton’s small role in last year’s The Killer, fits her perfectly into the film, with great attention to body movement and diction). Here, characters and stories from the past appear and disappear, yes, just like in real life, but that doesn’t make for a particularly engaging film experience. Turturro (Almodóvar?) is particularly helpless in this film, not only with uninteresting lines, but also with a character with a simplistic political message and worldview.

The film references Bergman’s persona, but is a shadow of that work of art

In Dolor and Gloria he bravely put his own pain at the forefront, but like Woody Allen, his great inspiration seems to have passed, and his films are mere copies and abstractions of earlier ideas. (Even the 1-minute trailer contains the full film.) One final note: that this film won the Golden Lion at Venice this year is not only an indication of how weak the 2024 edition of the festival was, but also, as usual, a summary of the composition of the jury, this time chaired by Huppert: first prize for a film about a woman who wants to be euthanized, second prize for a woman torn apart by war, love and her community, and third prize for a woman who fights for abortion. Perhaps it is an idea to make filmmakers presidents of the jury instead of actors and actresses, so that the best film would have won the biggest prize (The Brutalist).

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