Die Haut, in der ich wohne (2011)

Die Haut, in der ich wohne: Directed by Pedro Almodóvar. With Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet. A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.

“In his latest film Almodóvar takes a qualitative jump into new philosophical depths. His usual reflections on the nature of relationships and the consequence of oneu0026#39;s actions take on a well- defined shape and advance forward with self-assurance.u003cbr/u003eu003cbr/u003eThe order in which the events of the story are told is a cunning device that allows the director to make us reflect on how superficially – indeed, skin-deep – we perceive reality and how quick we are to judge first impressions and jump to conclusions. What we first perceive one way, those initial scenes that slightly baffle us but which we nevertheless do not hesitate to judge in a specific way, take on a completely new meaning when the story pauses to take us back into the past in order to tell us about an important series of events that happened at the time which bear a direct relation to present events. The new light that is shed on the present changes completely our perception of the story as we had first witnessed it, which is a humbling experience. We are then taken back again to the present and continue watching the rest of the film, but with this completely new understanding of the real underlying motivations for the charactersu0026#39; actions. It is at this point that through a slight thriller-style twist in the plot the story takes on a Shakespearean dimension as it delivers its powerful humanist lesson that vengeance begets vengeance.u003cbr/u003eu003cbr/u003eFood for thought, in fact enough food to last you days and feed other people, as you are left on the one hand wondering at the concept of skin: what we actually desire when we desire someone, whether all desire is skin-deep, whether the skin does not allow us to see the person behind. And on the other hand you are left with the reflection on how the road of vengeance leads only to self-destruction. When a film leaves you pondering so deeply, I can only conclude it is a great film.”