Almodovar Almighty

The release of a new Almodovar feature is always reason to get excited, particularly for those of us who like his everything-including-the-kitchen-sink over the topness, and archly camp style.
While Volver has elements oh so familiar to the regular Almodovar audience – it’s rather predictably about the relationship between generations of women – it’s also considerably more contained than some of his previous work. As a result, it’s probably the best film he’s made for some time.

It stars Penelope Cruz in award-winning form as Raimunda, a hardworking Madrid wife and mother. Her husband though is a useless drunk. A situation develops – surprisingly rapidly – that sees the husband dead and Raimunda having to cover up the crime.

To some extent, this strand of the story is irrelevant as the heart of the tale is the relationship between Raimunda and her daughter, Raimunda and her sister Sole, Raimunda and her aged aunt and Raimunda and her late mother, Irene (Almodovar regular Carmen Maura). Their parents died in a fire some years before yet the aunt continues to talk to Irene as if she’s still alive. When Paula dies, Sole and Raimunda discover why she’s been acting that way: Irene’s ghost travels back to Madrid in Sole’s car and, through her presence, begins to help heal the family situations she couldn’t manage while alive.

The resurrection of the past and how it shapes the future is not an original subject but Almodovar, with his trademark wit and unusual visual style, milks the scenario to powerful effect. Cruz is astonishingly good, bringing real passion and admirable steel to her character. Maura too is amazing, but you probably guessed that.

While mostly gimmick free, Volver looks and feels like the work of a director at the peak of his confidence. His most mature effort to date? Undoubtedly. And one of his finest to boot.