So here’s the thing – Pedro Almodovar’s THE SKIN I LIVE IN was a tough watch this morning. After coming in late from last night’s screening, and deciding that uploading my HitRECord footage and podcast had to be done right away, I left myself with a measly four hours sleep.

Thus, concentrating on this Spanish thriller at nine a.m. this morning was a task. Not because it was lulling me back to sleep – far from it actually. Just that its puzzling opening act, quiet tone, and subtitles were a bit more than my mushy brain could handle. I guess that’s my way of saying that before I write a full-on review for this film later this fall, I’ll be watching it again to make sure I have my facts straight.

However, I was able to pay enough attention to be impressed and surprised by the Spanish master yet again. Back at the beginning of the year, this was described as Almodovar’s horror film. I can tell you with certainty that it is decidedly not a horror film…but it sure is far more twisted than any other Almodovar film out there. And yes, I realize the implications of that statement.

I’m going to be very sparse on details in this post, because I went into it entirely blind and I think that’s the best thing for anyone who’s an Almodovar fan (and if you aren’t, I’m not talking to you). What I will say is that this feels like Almodovar spent 2010 watching David Cronenberg films and thought he’d give it a go himself.

Antonio Bandares is cold, calculating, and suitably disturbed as Dr. Robert Ledgard. Elena Anaya plays his patient Marilia, and brings an awful lot to the part…tones that will stick with you until well after the film is over in fact. It all stems out of the reason for Marilia is in Dr. Ledgard’s care – a reason that isn’t made clear for an awfully long time.

As it turns out, this script has Almodovar adapting a novel by Thierry Jonquet. This actually gave me quite a bit of comfort, since I’d be a little worried about Pedro if this screwed-up story had come from his own imagination. As I write this, I realize that I must be frustrating readers with how deliberately vague I’m being. Just trust me – it’s for your own good.

There are the standard tropes of an Almodovar film: a complicated female lead, personal drama involving a death, and lots and lots of beautiful imagery. Where it deviates is in the liveliness – there isn’t any. Despite all the illness, death, and depravity that make up Almodovar’s stories, they are usually framed with a passion for life. THE SKIN I LIVE IN is much more down tempo – and while viewers might miss the hand-holding the passion for life usually provides, it’s exciting to see Almodovar go somewhere new.

This movie was a festival favorite to be sure – I wonder what I’ll think of it when I watch it with more sleep in my system!

8 Replies to “TIFF Review: THE SKIN I LIVE IN”

  1. Sounds awesome. This is by far my most anticipated movie of the year. I’ve only recently gotten into Almodovar but he’s quickly becoming one of my most favorite directors.

    1. If you’ve only recently started digging into Pedro, you should give a listen to The Film Locker – my podcast series with Simon Columb. We did an episode dedicated to all things Almodovar, with heavy discussion of my all-time fave from him, TALK TO HER.

  2. Almodovar attempting Cronenberg sounds intriguing. Even flawed Almodovar is still far superior than many of his peers. Look forward to seeing this when it hits theatres.

    Also, I cannot remember if I mentioned this when I saw you last, but your TIFF coverage has been outstanding again this year. Excellent job all around.

    1. I could be a little off my nut where the Cronenberg connection os concerned, but it was what I got from it…very DEAD RINGERS.

      Thanks for the compliment on my coverage buddy. Made for a bit of a tiring week, but I’m all the better for it. Really dug getting to hang with you for a few days as well – see you in a few weeks at the bar!

  3. Based on reviews from a British critic I heard on Mark Kermode’s show, the guy said that this is Almodovar’s return to earlier films in terms of how dark they were. I’m extremely eager to see this because it’s Almodovar and it’s his first film with Antonino Banderas in 21 years. Plus, I have a thing for Elena Anaya.

    1. Anaya sure is easy on the eyes, but I had a hard time looking at her “that way” as the film went on for reasons that will be clearer when you watch it.

      The earliest of Almodovar’s films I’ve seen were WOMAN ON THE VERGE and TIE ME UP. This felt darker than either of those, but perhaps Kermode is comparing it to something else that I haven’t seen yet.

      From the Almodovar catalogue I’ve watched, the only thing that dives this deep into the dark waters is BAD EDUCATION.

  4. Glad you liked it. it’s a tough film to talk about without giving too much away, there is very little that happens that isn’t integral to the plot.

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