Volver

A classic love-hate relationship between mother and children. Since when?《All About My Mother》? Or even earlier,《High Heels》?

In many works by the prodigious son of Spanish cinema, men are playing cameo roles (《Talk to Her》is perhaps an exception). Men are selfish, hideous, unfaithful and despicable in Almodóvar's cinematic world, producing a perfect silhouette effect to highlight woman's invincible power. No matter it is Paula's irreversible defense of her virginity, Raimunda's no hesitation to dump with Paco, Irene's revenge to her despicable husband or Agustina's refusal to betray her fellows.

The vibrant red, Flamingo melody and striking features of the female leadings all allude to a world which is so distinctive of love and hatred. While imperfections and sins permeate, mortals can only contrive out of the corrupt sand of human desires.

Volver is an organic progress of evolving and returning. It's about reverting to one's origins, reconnecting loosing ties and rediscovering the power of love.

依然艾慕杜華

在艾慕杜華的光影世界，愛恨向來分明，道德卻一塌糊塗。

縱使《浮花》一劇的主線有點薄弱、而且兜兜轉轉仍是那麼艾慕杜華，但戲中那股濃烈的人情與愛恨，被那強烈色彩和音樂影襯下，依然教人沉溺。

導演的根、拉曼查的勁風、女性那股強韌的生命力，都一一流露，且生生不息。歸去來兮的不只是人與根、風與沙、生與死，還有恨與愛。

也只有愛，衆生才獲救贖。