“One sign of a strong film is that it won’t hold steady in your sights,” Anthony Lane writes. “Your mind is made up and then changed, and changed again.” Pedro Almodóvar’s “Parallel Mothers” fits the bill.
? Who offers a smoother ride? His new film, “Parallel Mothers,” starts with a photographer, Janis , snapping pictures of a fellow named Arturo . Afterward, over a bottle of wine, they talk. Jump ahead a little, and we hear him calling to arrange another meeting. Jump again, and we see the white curtains of her apartment, in Madrid, billowing like sails in the breeze: a rapturous image, which tells us, with mysterious clarity, that love is being made inside the room.
As if guessing what happens next isn’t tricky enough, we also have to work out, as the plot expands, where its center of gravity lies. In the hospital, Ana is visited by her mother, the suave Teresa , an actress by profession. Having been, as she admits, “the worst mother in the world,” she now proves to be equally unreliable as a grandmother; presented with a plum role, in a play by Lorca, she grabs it and goes on tour, just when her daughter needs her.
What’s fascinating is that the rediscovery is achieved not so much by strength of will as by reaching back into the past. Not only Janis’s own past, either, but that of her forebears and their native land. In an early conversation with Arturo, who is a forensic anthropologist, she asks about the possibility of excavating the grave of her great-grandfather, who was killed during the rule of General Franco.
Pushback against the pact acquired legal force in 2007, with what was commonly known as the Law of Historical Memory. Among other things, it issued a formal condemnation of the Franco regime and—mindful of those who had been executed and interred in that ruinous period, often in mass graves—provided for the tracing and identifying of corpses. Only thus could they be decently reburied.
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