The Skin I Live In (La piel que habito) is an emotionally draining yet highly enjoyable romp into a quasi new genre for Almodóvar. On the outside this has all the markings of a science fiction thriller, but the science involved really isn't the meat and potatoes of the film. It's a drama/romance steeped in mystery and intrigue, masquerading in sci/fi clothing. It stars Antonio Banderas, who reunites with Almodóvar after working with him over 20 years ago. Banderas plays a doctor whose controversial foray into developing new, stronger human skin forces him to test his new substance on a human patient in secret. Her name is Vera Cruz (Elena Anaya), and we are aware that Vera is, or at least was, being held captive inside Banderas' home.
There is also the housekeeper, played by one of Almodóvar stand by actresses, Marisa Paredes. She has known Banderas since he was a child. She is well aware of all his secrets, even ones that he isn't aware of. Her main goal is to protect him from the dangers of his work. Vera because of the reconstruction he has done to Vera's skin, he has made her similar to the wife that he lost, a concern for Paredes. Can he separate his feelings from his work, or will he succumb to desire and fall in far deeper than he could possibly imagine?
Almodóvar doesn't just give us generic characters in an average plot. No, no, no. He is not the person to put ordinary people in extraordinary situations. He takes extraordinary people and puts them in unimaginable circumstances. He has always done that and will continue to do that, and for that we thank him. Like M. Night Shyamalan, only less predictable, Almodóvar always keeps us on our toes. Just when we think we know where he's going, he jerks us in the other direction, and then jerks us back again. He does so cleanly and efficiently what others would make a mess of.
Banderas isn't just a talented doctor, he's a talented doctor bent on righting wrongs, revenging his family, and filling that empty void in his life. The same goes for Vera and Paredes. They both fit archetypical characters from the thriller genre, but there is so much more going on under the surface. Almodóvar's characters are like icebergs. What you see is only a tiny percent of what they are truly made up of.
Like so many of Almodóvar's previous films, especially those made in the last decade or so, this film has such a clean look to it. What I mean is the camera shots are well placed, level, and you can easily follow the action. We're not floating around the room or rumbling inside of a car. He and José Luis Alcaine (they've worked together several times before) utilize the beauty of their talent, the beauty of their setting, and juxtapose it with the ugliness of what is going on. There is kidnapping, murder, jealousy, lust, and science experiments, yet somehow they make it all look so chic. The use of color, a prominent feature in many of Almodóvar's films, is highlighted brilliantly here.
It's unlike any Almodóvar film I've ever seen, but at the same time it's like wearing your favorite shirt. It just feels so right, so comfortable. The material has changed but the elements are all there. He continues to shine with age and pushes the envelope further and further. He's a rebel, a genius, and a visionary, and one of the most talented artists working today.
There is also the housekeeper, played by one of Almodóvar stand by actresses, Marisa Paredes. She has known Banderas since he was a child. She is well aware of all his secrets, even ones that he isn't aware of. Her main goal is to protect him from the dangers of his work. Vera because of the reconstruction he has done to Vera's skin, he has made her similar to the wife that he lost, a concern for Paredes. Can he separate his feelings from his work, or will he succumb to desire and fall in far deeper than he could possibly imagine?
Almodóvar doesn't just give us generic characters in an average plot. No, no, no. He is not the person to put ordinary people in extraordinary situations. He takes extraordinary people and puts them in unimaginable circumstances. He has always done that and will continue to do that, and for that we thank him. Like M. Night Shyamalan, only less predictable, Almodóvar always keeps us on our toes. Just when we think we know where he's going, he jerks us in the other direction, and then jerks us back again. He does so cleanly and efficiently what others would make a mess of.
Banderas isn't just a talented doctor, he's a talented doctor bent on righting wrongs, revenging his family, and filling that empty void in his life. The same goes for Vera and Paredes. They both fit archetypical characters from the thriller genre, but there is so much more going on under the surface. Almodóvar's characters are like icebergs. What you see is only a tiny percent of what they are truly made up of.
Like so many of Almodóvar's previous films, especially those made in the last decade or so, this film has such a clean look to it. What I mean is the camera shots are well placed, level, and you can easily follow the action. We're not floating around the room or rumbling inside of a car. He and José Luis Alcaine (they've worked together several times before) utilize the beauty of their talent, the beauty of their setting, and juxtapose it with the ugliness of what is going on. There is kidnapping, murder, jealousy, lust, and science experiments, yet somehow they make it all look so chic. The use of color, a prominent feature in many of Almodóvar's films, is highlighted brilliantly here.
It's unlike any Almodóvar film I've ever seen, but at the same time it's like wearing your favorite shirt. It just feels so right, so comfortable. The material has changed but the elements are all there. He continues to shine with age and pushes the envelope further and further. He's a rebel, a genius, and a visionary, and one of the most talented artists working today.