A story of returns, from finds and changes, of lost and discovered lovers from wounds leaving their mark and gift which inevitably lost youth hopes to focus on maturity concerns. On the eve of 70 years Pedro Almodovar returns to the Festival, for the seventh time, with Dolor the gloria (overnight in the halls), twilight freshness on the existence of a director similar to many, but not exclusively, and a nation, Spain, who has changed with him: «There has always been correspondence between my life and the life of the country I live in it, it's natural, in my movies, that the influence of the air I breathe has felt. Two weeks ago, fortunately, the atmosphere has changed, in the direction of which I fully approved. The loneliness, the isolation I am saying in this film reflects, instead, the dark climate of Spain's pre-election, now I believe, and hopefully, that time new has started and so I can say that my next film will be very cheerful ».
Actress Elle Fanning, part of the jury, yesterday on the red carpet
To animate the mirror game of The Gloria DolorAlmodovar needed a reliable change, actor, Antonio Banderas, who was born with him and returned from him, ready to be shaped without resistance, with the dedication of those who, after giving the best to their roots and career building. As an actor, as a director and also as a man, he understood that it was time to make the trip back: "I chose shooting the film as a simple soldier – Banderas said – – accepting any suggestion, knowing that it never like this time Pedro would have said himself in detail, I had to be in his instrument, I told him that I was there to listen and try to understand what I wanted. he wanted me to undress, and so it was.
In the texture of the film, between tried and imagined situations, first tested or reworked according to friends' stories, the Almodovar universe is seen from the closest perspective, with the desire not to hide anything, but also, says the author, without repentance or repentance: "Certainly, I have made mistakes, and I think it is important to know it, so as not to repeat, but not I repent, because repentance and the repercussions of conscience to me are feelings associated with religion, to ideology based on guilt and punishment, not related to me, in my life my cinema saved At Banderas, the friend went with him, in the eighties, every night, enjoying the horrible atmosphere of Madrid's nightlife, Almodovar asked "to be completely different from that." Time goes by, and nothing can be done. Perhaps that's why, on the windy terrace of the Croisette, Banderas remembers with her eyes turning to as if trying to catch the spirit of a period that cannot be argued: "When Pedro and I met, we were inexperienced, but also very, we were trying to reinvent Spanish cinema, but, above all, to overturning the moral rules of a society which, until a few years previously, had been led by hard dictatorship. We went everywhere, always with each other, to the theater, to lunch, to dance, to the cinema. We were a group, like the Rolling Stones, it was a lot of fun. Then Pedro was successful, he became important and he acquired power, the division of our roads, I went to America, and, for almost 22 years, we never saw each other again. "
The first work with each other, after the separation, was The skin I live in: "When we met again – explained Banderas – I wanted to show what I had come, my goals. Pedro told me immediately that those things were not of interest to him at all, that they were nonsense, and that he was Of course, I responded, we discussed and struggled, I only came to understand myself later in the film, at the Toronto Festival, and then I realized that Pedro had succeeded. I got out of things I didn't know. "
From these exposures, the misunderstanding, what happens and the things that often mark our lives bonds, speaks the whole Almodovar film. Not only pain and glory, but also tolerance and, at times, peace. Feelings that the director traced with "new sobriety, less humor, and less taste of the Baroque". Age needed to change and, according to the success of the film at home, the public finally understood that Pedro Almodovar was a great director, able to change: "For years, after Women on the verge of nervous breakdown people stopped me on the street asking me to make another film like that. Today, however, I'm happy, I have the impression that the changers have accepted my change, being different, more vulnerable, in harmony with my biological evolution. I'm more fragile, this creates empathy, and everything has happened naturally, without calculations, or forced ".
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