Volver

Hello, Almodóvar. You offer us a varied mix of interesting elements in a single film, and I like to occasionally add someone like Penélope Cruz, who's often a joy to watch, but I'm moving on. The audience's hypotheses unfold in many interesting dead ends, but what’s next? For La Mancha fans, it's probably a little different. (2013.04.14)

Another excellent example of how Almodóvar is capable of directing a film. Literally enchanted me with how he was able to make me believe that something unreal is truly possible. All the more surprising is the realization of where the truth lies. Excellent drama with wit and the beautiful Penélope, who is simply captivating in every moment. (2014.12.20)

A genre-inconsistent and overly talkative Almodóvar, who is not even pretending to be great art this time. The main strength undoubtedly lies in the high-quality acting performances, led by the stunning Penélope Cruz at her best. The European independent touch is felt in every scene and acts as a refreshing spring breeze. In contrast, Volver is too diffuse in plot and not always the best constructed in terms of screenwriting. This sometimes results in tedious scenes full of uninteresting chatter and conversations about nothing (which is downright boring), while the strong and properly spicy dialogues (watching the actresses in action is a pleasure) are not enough for a good rating. Nevertheless, this film is worth mentioning because Pedro Almodóvar is once again himself in many aspects, and it takes a lot of directorial talent to achieve such a result for the seventeenth time. Perhaps only the music failed, as I kept hearing Chinatown every moment. (2006.08.21)

I can't get rid of the impression that there is a category of films directed by famous directors that, if they were made by unknown creators, would have significantly lower ratings. I also feel that Volver fully belongs to this category. If we filter out the ecstatic contemplation of Pedro Almodóvar's enthusiastic fans in the style of "what a beautiful film" and look at it analytically, we are left with a somewhat far-fetched and not very substantial story in the style of Latin American telenovelas. The whole film resembles an extended episode of a telenovela, with an emphasis on dialogues, female characters, and skillful handling of human emotions. However, it is well cast and directed, so it is acceptable even for a viewer who looks down on traditional telenovelas. Almodóvar focused on depicting the world of women, and men in his drama play purely secondary, usually unflattering roles as sexual predators, promiscuous husbands, or weaklings. On the other hand, the female roles are filled with the best that the Spanish film industry currently has. I can't imagine a heterosexual man who secretly wouldn't want to spend an evening with Penélope Cruz. Carmen Maura represents mature acting and dignified gradually fading beauty, Lola Dueñas is an incredible and still surprisingly underrated actress who effortlessly wins popularity polls, and Yohana Cobo is a pubescent young girl. Penélope Cruz radiates such a powerful dose of charm and sensuality that it is impossible to believe in the years spent at the stove, doing manual labor, and the stress of an incapable husband. Because Almodóvar is a very experienced creator, even the strange story can be presented naturally and hold the viewer's attention. However, it is one of those films where it is not about what it is about, but rather how it is filmed. Overall impression: 60%. (2010.04.25)

Movie challenge 2018 - Spain. A peculiar film, typically Almodóvar-like in some aspects, partially capturing traces of magic realism and above all, breathing the classic Spanish temperament and spirit on me. In the foreground, as always, there are women, women, and women again. And I would venture to say that not even a single heterosexual viewer can be found who would declare that Penélope was not captivating from start to finish :-) (2018.05.07)