A version of this story about Pedro Almodóvar and “Pain and Glory” first appeared in the International Film issue of TheWrap’s Oscar magazine.
When Pedro Almodóvar sat down to talk about his Spanish Oscar entry “Pain and Glory,” he looked trim and well-rested. That’s a relief, since the semiautobiographical film is about filmmaker Salvador Mallo (Antonio Banderas), whose physical and mental travails have blocked him from what he loves most — making movies.
(This interview was conducted in Spanish and translated into English.)
You’re looking well. I’m sure with your interviews for this film, everyone starts with, “Are you Ok? How are you feeling?”
It’s true, that’s the first question I get from a lot of people. “Are you all right?” Yes, I’m doing much better than the Antonio Banderas character.
There’s an animated segment early on showing us everything wrong with Salvador’s aging body.
When Pedro Almodóvar sat down to talk about his Spanish Oscar entry “Pain and Glory,” he looked trim and well-rested. That’s a relief, since the semiautobiographical film is about filmmaker Salvador Mallo (Antonio Banderas), whose physical and mental travails have blocked him from what he loves most — making movies.
(This interview was conducted in Spanish and translated into English.)
You’re looking well. I’m sure with your interviews for this film, everyone starts with, “Are you Ok? How are you feeling?”
It’s true, that’s the first question I get from a lot of people. “Are you all right?” Yes, I’m doing much better than the Antonio Banderas character.
There’s an animated segment early on showing us everything wrong with Salvador’s aging body.
- 11/19/2019
- by Alonso Duralde
- The Wrap
Festival poster by Pedro Almodóvar and Juan Gatti. Below you will find an index of our coverage of films showing at the 2019 57th New York Film Festival, which runs September 27–October 13, 2019:Marriage Story (Noah Baumbach) In a tale whose ending is essentially telegraphed from the first few minutes, Marriage Story thrums with the energy of some pulsating organ. It’s a deeply personal journey that ultimately transcends the couple at its center, precisely because it understands both halves down to their innermost quirks. Baumbach (here again on double writer-director duty) has possibly never penned anything this stellar, a script where screwball comedy chuckles teem with tragedy. But it is the perfect symbiosis between writing, directing, and Jennifer Lame’s work in the editing room that allows the plot to shift tones in the time that lasts an hairsbreadth, with scenes that carom off excruciatingly funny segments to others of lacerating sadness.
- 9/26/2019
- MUBI
Antonio Banderas gives the performance of his career as a fictional stand-in for the Spanish director in a drama that blurs the line between art and life
In Pedro Almodóvar’s previous film Julieta, a middle-aged woman returns to her old apartment block in Madrid to write about – and thereby confront – the ghosts of her life. There’s a similar sense of revisiting in Pain and Glory, in which Antonio Banderas plays a becalmed film-maker, struggling to move forward, borne back ceaselessly into the past. Described as the third part of an “unplanned trilogy” which began with Law of Desire (1987) and continued through Bad Education (2004), it’s another deeply personal work from Almodóvar that mixes autobiography with fiction to powerful effect. As the title suggests, the result is a tragicomic swirl of heartbreak and joy, slipping dexterously between riotous laughter and piercing sadness. At its heart is Banderas giving the...
In Pedro Almodóvar’s previous film Julieta, a middle-aged woman returns to her old apartment block in Madrid to write about – and thereby confront – the ghosts of her life. There’s a similar sense of revisiting in Pain and Glory, in which Antonio Banderas plays a becalmed film-maker, struggling to move forward, borne back ceaselessly into the past. Described as the third part of an “unplanned trilogy” which began with Law of Desire (1987) and continued through Bad Education (2004), it’s another deeply personal work from Almodóvar that mixes autobiography with fiction to powerful effect. As the title suggests, the result is a tragicomic swirl of heartbreak and joy, slipping dexterously between riotous laughter and piercing sadness. At its heart is Banderas giving the...
- 8/25/2019
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Like everything else, Miami is bigger than it used to be. At 5.5 million, the burgeoning Miami-Dade population is the eighth largest metro area in the U.S. You hear Spanish everywhere, from the glitzy Vegas-level Faena Hotel — resplendent wth full-length lobby murals from Pedro Almodovar’s poster designer Juan Gatti, a stuffed peacock, and Damien Hirst’s $15-million 14K gold-painted mastodon skeleton encased in glass perilously close to the ocean — to the famed neon-deco restorations lining Collins Avenue on South Beach, Little Havana’s Ball & Chain, the wild grafitti art at Wynwood Walls and a gut-busting range of South American restaurants, from Chile to Peru.
And you hear Spanish at Miami-Dade College’s sprawling Miami Film Festival, which — after eight years under director Jaie Laplante — leans into its Ibero-American identity via a strong program dominated by Spanish-language films amid a diverse array of narratives, shorts and documentaries.
Headquartered at Belle...
And you hear Spanish at Miami-Dade College’s sprawling Miami Film Festival, which — after eight years under director Jaie Laplante — leans into its Ibero-American identity via a strong program dominated by Spanish-language films amid a diverse array of narratives, shorts and documentaries.
Headquartered at Belle...
- 3/20/2018
- by Anne Thompson
- Indiewire
Above: Spanish poster for Pepi, Luci, Bom (Pedro Almodóvar, Spain, 1980). Artist: Ceesepe.Is there a contemporary filmmaker with a more vivid graphic sensibility than Pedro Almodóvar? His always distinctive films, with their bold colors, deliberate blocking and impeccable set design, often look like cartoons or magazine spreads come to life. Following suit, the posters for his films have always been a testament to his aesthetic, whether in his scrappy underground days or his far more polished later years. With his 20th feature film, Julieta, opening December 21, and a Museum of Modern Art retrospective beginning in New York next Tuesday, I thought it was high time I featured the best artwork of Almodóvar’s 40 year career.Any cinephile in their twenties might be forgiven for thinking that Almodóvar is the most establishment of arthouse directors: perennially fêted by Cannes and the New York Film Festival, winner of two Oscars, and, since the late 1990s,...
- 11/29/2016
- MUBI
Above: Juan Gatti’s original Spanish poster for Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain).
After covering the posters for the very first and the current New York Film Festivals, I thought it might be fitting, in this last year of Richard Peña’s tenure as Program Director and Selection Committee Chairman of the festival, to gather all the posters from Peña’s very first Nyff, 24 years ago.
In the current edition of Film Comment—an essential souvenir of the history of the festival to date, complete with a list of every feature film to have played the festival in its 50 years—Gavin Smith writes that “The 25-film lineup of the 1988 Nyff was partly a reflection of the decade’s drift and uncertainty—two came from Nyff veterans (Sergei Paradjanov, Marcel Ophuls), two were post-Glasnost rediscoveries (Andrei Konchalovsky, Larissa Shepitko), and nine were bets that didn...
After covering the posters for the very first and the current New York Film Festivals, I thought it might be fitting, in this last year of Richard Peña’s tenure as Program Director and Selection Committee Chairman of the festival, to gather all the posters from Peña’s very first Nyff, 24 years ago.
In the current edition of Film Comment—an essential souvenir of the history of the festival to date, complete with a list of every feature film to have played the festival in its 50 years—Gavin Smith writes that “The 25-film lineup of the 1988 Nyff was partly a reflection of the decade’s drift and uncertainty—two came from Nyff veterans (Sergei Paradjanov, Marcel Ophuls), two were post-Glasnost rediscoveries (Andrei Konchalovsky, Larissa Shepitko), and nine were bets that didn...
- 10/6/2012
- by Adrian Curry
- MUBI
“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably.
—
With January 2012 poster selection leaving a lot to be desired—dump month movies don’t appear to get the same marketing budget as critical darlings—we’ve decided to better spend our monthly entry with the past year’s greats.
You won’t see any text on faces a la The Adjustment Bureau, In Time, or Warrior gracing this list nor that fantastically framed Mission: Impossible – Ghost Protocol poster that just missed scoring a spot. Instead there is a lot of white space and the fearless exclusion of celebrity faces.
—
With January 2012 poster selection leaving a lot to be desired—dump month movies don’t appear to get the same marketing budget as critical darlings—we’ve decided to better spend our monthly entry with the past year’s greats.
You won’t see any text on faces a la The Adjustment Bureau, In Time, or Warrior gracing this list nor that fantastically framed Mission: Impossible – Ghost Protocol poster that just missed scoring a spot. Instead there is a lot of white space and the fearless exclusion of celebrity faces.
- 12/20/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably.
Thank goodness for the fall season. Not only are the films better, but the artwork generally has its own yummy indie flavor too. Close-up faces covered by sans-serif text reign supreme and somehow don’t wear out their welcome as big budget tentpoles dump boring rehashed character collages to assuage actor egos. If a Johnny Depp vehicle can be marketed without his adored visage on the one-sheet, you know the design world still has some tricks up their sleeves. If only they’d use them more regularly.
Heavy metal...
Thank goodness for the fall season. Not only are the films better, but the artwork generally has its own yummy indie flavor too. Close-up faces covered by sans-serif text reign supreme and somehow don’t wear out their welcome as big budget tentpoles dump boring rehashed character collages to assuage actor egos. If a Johnny Depp vehicle can be marketed without his adored visage on the one-sheet, you know the design world still has some tricks up their sleeves. If only they’d use them more regularly.
Heavy metal...
- 9/27/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Michael Moore has nominated Matt Damon as a candidate for the Us presidency
The big story
My fellow cine-fans: The 45th president of the United States of America. The Commander in Chief of the Us air force, army and navy. The new, new hope. Matt Damon.
At least, if Michael Moore had his way. The rambunctious documentary director tipped the Bourne franchise star for the 2012 Democratic ticket earlier this week, describing Damon's stance against Barack Obama's administration as "courageous".
"If you wanna win, the Republicans have certainly shown the way: that when you run someone who is popular, you win," Moore told firedoglake.com. "Sometimes even when you run an actor, you win. I only throw his name out there because I'd like us to start thinking that way ..."
Moore has Matty in mind because Damon, who campaigned for the Democrats in the run-up to the 2008 election, has become...
The big story
My fellow cine-fans: The 45th president of the United States of America. The Commander in Chief of the Us air force, army and navy. The new, new hope. Matt Damon.
At least, if Michael Moore had his way. The rambunctious documentary director tipped the Bourne franchise star for the 2012 Democratic ticket earlier this week, describing Damon's stance against Barack Obama's administration as "courageous".
"If you wanna win, the Republicans have certainly shown the way: that when you run someone who is popular, you win," Moore told firedoglake.com. "Sometimes even when you run an actor, you win. I only throw his name out there because I'd like us to start thinking that way ..."
Moore has Matty in mind because Damon, who campaigned for the Democrats in the run-up to the 2008 election, has become...
- 8/11/2011
- by Henry Barnes
- The Guardian - Film News
Paul Owen talks to Juan Gatti, who has been collaborating with Pedro Almodóvar since 1988, about his disturbing poster for the Spanish director's The Skin I Live In
Juan Gatti has been working with Pedro Almodóvar since 1988, but his teaser poster for The Skin I Live In, the baroque Spanish director's new film, marks a significant departure for the Argentinian graphic designer.
Gatti's earlier work was indebted to Saul Bass and Andy Warhol, sometimes wittily so; compare Gatti's titles for Volver, in which thick rectangular lines form themselves into tableclothes and wallpaper patterns, with Bass's classic expressionistic opening sequence for The Man with the Golden Arm, or his posters for Tie Me Up, Tie Me Down (aka Átame) with some of Bass's most celebrated work, particularly his unforgettable advert for Anatomy of a Murder (detail above).
As for the Warhol influence, Gatti's poster for Volver, with its bright, non-realist blocks of colour,...
Juan Gatti has been working with Pedro Almodóvar since 1988, but his teaser poster for The Skin I Live In, the baroque Spanish director's new film, marks a significant departure for the Argentinian graphic designer.
Gatti's earlier work was indebted to Saul Bass and Andy Warhol, sometimes wittily so; compare Gatti's titles for Volver, in which thick rectangular lines form themselves into tableclothes and wallpaper patterns, with Bass's classic expressionistic opening sequence for The Man with the Golden Arm, or his posters for Tie Me Up, Tie Me Down (aka Átame) with some of Bass's most celebrated work, particularly his unforgettable advert for Anatomy of a Murder (detail above).
As for the Warhol influence, Gatti's poster for Volver, with its bright, non-realist blocks of colour,...
- 8/9/2011
- by Paul Owen
- The Guardian - Film News
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