A boy and his mother briefly discuss whether our not they would prostitute themselves, for the sake of the other.
A bunch of prostitutes are seen in some sort of outdoor orgy. Several women are seen topless, as well as another woman groping her own breast. A woman is seen giving a woman oral sex (no nudity).
A man is seen trying to rape a woman; he’s forcing himself upon her and one of her breasts is seen. He is stopped before it goes any further though.
A prostitute is beaten, and later she states that the pain in her face hurts too much so she “won’t be able to suck.”
Recurring themes throughout the film include prostitution and being transgender.
There are implications of a homosexual relationship between two women (with largely differing ages), although nothing is ever shown.
There is very explicit and blunt sexual discussions, one in particular about halfway through (“I’ve sucked a lot of cocks. I’ve even sucked them in public.” “It’s been years since I’ve sucked a cock.” “I love the word cock. And prick!” Etc.)
One of the main characters is a transvestite prostitute. This is discussed in one scene. Another woman grabs her/his fake breasts. She also asks to see her/his penis (“Let me see your cock “), and she/he responds with “I’ll show it to you later and you can lick it.”
A man asks a transgender woman to give him a blowjob. She agrees, although they never get around to doing it. The conversation settling the agreement is very sexually explicit.

A woman is pregnant from her relationship with a homosexual she also has Aids from that relationship. The baby born also has Aids.


Film review:Translated by www.rabudo-ru.com


0. Written in the front, thought of by the title

This paper attempts to analyze the film with Hegelian logic: the contradiction theory of positive and negative combination. But before that, I will elaborate on the title.

Everything about my mother, strange name. Is the word “mother” for Esteban, who has died, or for mother Rosa’s child? Or are they neither? The sudden thought of the ambiguous theory of the new criticism may give it the best explanation: perhaps both are and are not limited to this. Mother may still be a general term, an identity. So this ambiguity has far-reaching power.

Mother’s posture is always the easiest to associate with the suffering and perseverance of a nation. When I finished watching this film with bright colors, but full of tears and death, I did think of my own nation and my mothers in my life.

1、 Drama and life

Amodova is a director who likes to use bright colors. My feeling is that those bright colors bring a close sense of oppression, making the story in the play like a lively reality around us. In addition, the film’s very compact narrative rhythm makes the audience have no time to distance themselves from the story. They can only watch problems and tragedies come one after another, and are generally unprepared with the parties. This treatment makes it easy for viewers to empathize with the characters in the play and resonate with their own life.

However, while narrowing the distance between the film and the audience, the director also exerts force in the opposite direction, that is, pulling the film back to the field of fiction. One of the most important methods is the use of lens. For example, when Esteban writes, the lens is very strange, the angle of his notebook; After Esteban was knocked down by a car, the camera was at an impossible angle: the angle of the dying Esteban. These seem to remind the viewer that this is a film, and the eyes we use to see it are special.

This time, the distance between the work and US fell into complicated and confusing repetition. Drama and life overlap and interlace for a while, which makes it difficult to distinguish between reality and reality. I wonder if this is similar to the means of postmodern literature to subvert reality and illusion.

The film also discusses the relationship between the play and life. Before his son Esteban died, his mother watched three plays with him: ① the film comet beauty, ② the film about organ transplantation played in the course, and ③ the streetcar desire watched in the theater. Among them, ① and ② hint at the later plot, while ③ becomes an important clue throughout the story. Amodova gave them enough camera time to disrupt the rhythm of the whole story, so that people have to pay attention to the plays in these plays and produce a sense of absurdity that life is like a play.

“Streetcar desire” plays an important role in the film. On the one hand, it runs through several important nodes of the story: the acquaintance between the heroine and Laura, the death of her son Esteban, and the connection with the famous actor Yan fan; On the other hand, it implies the plot and tone: the actresses who have played the play: Yanmi, Nina and the heroine Manuela can’t escape the tragic fate similar to those in the play. Outside the theater, large still photos of Yan Mi’s beauty hung high, but the film later approached the heart of the beautiful actress and found that she was so lonely and sad, just as her role Blanche hung the sentence “I always like to rely on the kindness of strangers” on her mouth. The poster of streetcar desire often appears in the camera. It becomes a sad metaphor for Manuela: she met Laura as Stella, and left the man with her children like Stella. Finally, his children died indirectly because of the play. No wonder she nearly collapsed when yanfan pressed her if she had ulterior motives. Streetcar desire is the focus of all suffering for her.

Play is like life, life is like play. Inside and outside the film, all told so.

2、 Civilization and barbarism

After watching this film, I made great efforts to find its original album. In fact, it was only for one song. When Manuela took a taxi into the suburbs of Barcelona, the only vocal song in the film appeared. This song really has a touching power. Later I found out that it was called “tajabone”, which means “breaking the waves” in Spanish.

From the moment Manuela got on the tourist bus to the moment she met ah Yue who was treated violently, the minutes when this song played are undoubtedly a highlight of the film. From Madrid to Barcelona, for Manuela, the span is not only space, but also 17 years. “Seventeen years ago, I walked this road. At that time… In the opposite direction, I went from Barcelona to Madrid. At that time, I was also running away, but regardless of Shan, I was running away from his father with Esteban.”. After this inner monologue, the music advances slowly, the tunnel symbolizing time and space in the lens slides quickly, and there is a overlooking lens of Barcelona, a beautiful night scene of the city. However, as the taxi drove to the suburbs, there were a series of startling and perverse pictures, naked sex trading scenes, coupled with the husky male voice in the background and sentimental music, which greatly rendered the tragic atmosphere of the film. When the cars lined up and drove by naked prostitutes and “Sister Feng”, civilization and barbarism collided and merged sharply here. The strong sense of disobedience caused this picture to remain in the viewer’s mind for a long time.

When ah Yue stepped forward to solve the problem that the two leading stars were unable to appear on the stage for personal reasons, she introduced in detail all the products of technological civilization on “he”: nose, chin, skin, chest, etc., all of which serve the primitive desires of mankind. It seems that humans have made a boring circle.

In this film, all the hot topics in modern society are involved: homosexuality, AIDS, bisexual people, and drug abuse. It seems that, like many underdeveloped regions, modern civilization has not brought prosperity and stability to this country, but crisis and pain. Human beings seem to have failed to extricate themselves from the original desire. The so-called civilization only distorts it to some extreme and presents it in an uncontrollable way. What can save mankind seems to be only primitive things, such as motherhood, such as love.

3、 Men and women

Men don’t occupy much weight in this film. It seems that there are only three slightly portrayed roles: Esteban, Manuela’s son, Rosa’s father, an elderly man with Alzheimer’s disease, and Mario, an actor. In a sense, these men mainly present a vulnerable side in the film, such as death, frustration and seeking help.

Almodovar said, “everything about my mother” It shows a woman’s ability to bear pain. A woman doesn’t have to be a professional actor. She can also lie, perform and act well. Men and women have the same loneliness and pain, but women’s response to this is much more dramatic and soul stirring. In this sense, men do look less than women. ”

Indeed, in the film, women show unlimited power in the face of suffering. Yan fan’s persistence, Rosa’s innocence, ah Yue’s optimism, and Manuela’s love and tolerance bear tragedy after tragedy with amazing perseverance.

However, as far as I understand, the film does not praise women as many people understand. At least it does not praise women at a similar moral level, but aims at a deeper part, which can be seen from the above paragraph of amodova. Manuela also said in the film: “feminine, avoiding loneliness can endure everything”. Although Rosa immediately said, “tolerance is a virtue”, manuella gave her a very disdainful response. I don’t think the director has any intention of praising women. It’s more amazing than praising women.

Since the film is to express women’s tolerance for suffering, it is actually talking about women’s two magical instincts: optimism and tolerance. This may be attributed to women’s maternal instinct and social instinct, primitive and amazing power. For example, the four women in the film can quickly gather together to talk and naturally care for and comfort each other, which is really not difficult for women. Men love as much as women, but only women can easily turn this love into forgiveness and tenderness. Men also bear and try their best to be strong as women, but women have a natural power of optimism. In the scene where yanfan goes to find Manuela to apologize, four women occasionally get together. Some of them are not familiar with each other. They bear great sadness, but they sit on a porch swing and laugh. It seems that a mysterious force has come into being. From their heartfelt laughter, we see a great power belonging to women, which can heal pain and dissolve sadness. Perhaps just to avoid loneliness, there is no more sacred reason, but women’s instinct does give a way out to the suffering world.

In addition to men and women, the film actually involves a third category of people, “Sister Feng”, which means bisexuals who have only changed their appearance (different from the real human demon). A Yue is a “Sister Feng”, but the various characteristics of “he” and the relationship between “he” and other women make “he” very close to a real woman. When he learned that yanfan and Nina almost died together, “he” shed tears and found that Mario still wanted to discuss sexual topics with “him”. His reaction was to sigh, indicating disdain and unreasonable, as well as some kind of understanding of men. This reaction clearly outlines the difference between men and women. Men are animals of desire and women are animals of emotion. It can be seen from this detail that the role of ah Yue can be regarded as a woman. In contrast, Laura, who is in a key position in this film, is much more complex.

Manuela called “him” a “wolf in the heart and dog in the lung”, and was always reluctant to disclose information about him to her son. When she was shaken by her son’s sincere wish, her son left. In order to fulfill her son’s last wish, manuella went to look for Laura again. Through joy and Rosa, Laura’s image gradually surfaced. Manuela’s evaluation of “he” is that “we should not only install righteous milk, but also be a man”. “He” is the initiator of many tragedies: hurting his wife, robbing friends, luring nuns and infecting her with AIDS. At Rosa’s funeral, the legendary figure finally appeared. After removing the sunglasses, there was a beautiful and false face, a face that was difficult for men and women to distinguish. The image of Laura is probably the most complex existence in the whole play. He is of great significance to the story, but the character itself is vague. There seems to be no more explanation for his transformation and his injustice. Maybe he exists to be forgiven.

4、 Injury and forgiveness

We always say “the one I love most hurts me the most”, and the injury often begins with love. If it were not for Manuela and Rosa’s love for Laura, they would not be hurt by him; If it weren’t for Yan fan’s indulgence and infatuation for Nina, she wouldn’t suffer so much for her; If Rosa didn’t love her demented father and accident mother, she wouldn’t feel so lonely; If Esther didn’t chase on a rainy night because of his infatuation with Yan fan, he wouldn’t have been killed in a car accident. Although fate is ruthless, it has its own logic and reasons.

This is an old topic. Although injury always starts from love, the only thing in the world that can stop injury is love and forgiveness.

In the first half of the film, when manuella rescued ah Yue from the mob, ah Yue held the stunned guest to show him the direction. At first, this detail made me a little confused, but as the film unfolded layer by layer, this detail became a natural bedding. Forgiveness is not only the professional ethics of ah Yue, the “Sister Feng”, but also his instinct as a woman.

The film raises this question from the beginning. Manuela’s career is related to visceral donation, which is a meaningful setting. When her son was taken away by a car accident, Manuela faced a ruthless fate and chose forgiveness: donate her son’s heart and respond to the pain with love.

Another important forgiveness is for Yanmi, the actress who indirectly caused Esteban’s death. After being questioned by Yanmi, she not only forgives her indifference to Esteban, but also forgives her questioning of her personality. Although she once protested with tears, when she saw Yan fan waiting for an apology at the door, she quickly received her naturally and expressed forgiveness with a smile.

The last and most important forgiveness is for Laura, a prodigal son who has committed many crimes. Manuela hated “him”. When Rosa said that the child’s father was Laura, she showed great anger and sympathy. Then, until Rosa died, Laura appeared. This scene is also a highlight of the film. The last shot of the scene before Rosa’s death is the sea view and the cross shaped window frame, and then the next shot, the white cross of the cemetery. This sacred opening has an air of forgiveness from the beginning. When she first met Laura, manuella cried and spoke ill of herself. But when Laura said “come here”, she obediently approached “him”. When she finished the initial task of her trip to Barcelona – finding Laura, telling “him” that they had a son and informing him of his death, she said “sorry” to Laura. I don’t think it’s necessary to wait until manuella meets Laura with little Esteban and gives him a picture of their son’s dead Esteban. In the scene of the funeral, in the holy sadness, she has forgiven “him”. So she told him about her son, so she said “sorry” to him.

In Manuela, we see a great thing that women have, that is tears. In the face of cold fate and great harm, women just cry, not hate. Manuela always shed tears in front of the perpetrators, which is a silent complaint. It is said that a woman’s tears are a symbol of vulnerability, but behind the tears is a woman’s forgiveness. Forgiveness is the most powerful courage. They forgive the harm, the perpetrator and fate. This brings a moment of peace to the suffering world. They have the instinct to treat their loved ones gently, which enables them to endure grievances. For example, when Rosa, who died not long ago, met her father who completely regarded her as a stranger, she answered freely with tears. She didn’t say “goodbye, Dad” until the old man walked away. The dog named Shapi can recognize the little master of the family from a distance, but a father can’t recognize his daughter. What a cruel fate. But Rosa’s calm deeply moved us. A good-bye, although it was a farewell, there was no resentment and hatred, only endless reluctance and endless love.

When we can forgive harm, all we give to the world is love. At the beginning of this article, I said that this film reminds me of my own nation and the mothers around me. They bear the suffering of this era, some have died, some are still hard and strong to live. I always remember a picture in my memory. When my great uncle died, a group of women in mourning clothes formed a circle and folded paper flowers. The mother and the eldest aunt are next to each other. Their relationship is not good at ordinary times. Their eyes are deeply stained with the haggard carved by sadness. But they were talking and laughing in a slower tone than usual. A group of women talked about household chores and laughed without scruples when they were happy. I saw my aunt hit her mother’s arm with a smile, as if she should not say such a thing.

I always remember this picture, black clothes, white paper flowers, golden sunshine and laughter. I think amodova and I share the same feeling and are amazed at the tenacious attitude of women in the face of suffering. But I prefer to attribute this power to love, love this miserable world, and love the same kind who hurt each other.

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