Julieta

You may enjoy Julieta (2016) more if you know that it is a women's film from the melodrama genre and a story of pure emotion. While it is labelled a romance it is nothing like a romance and don't expect light entertainment or laughs as the film is devoid of humour. What is does have is an outpouring of quintessentially maternal guilt and self-absorbed loss that is palpable throughout the film. While critics may be divided, this is a beautiful film with a long aftertaste.

We meet the attractive widow Julieta just as she is packing to leave Madrid and move with her boyfriend to Portugal. Madrid is full of painful memories, the most intense of which is not seeing her daughter Antia for twelve years. A chance encounter with her daughter's former best friend opens an uncontrollable torrent of guilt which suddenly fills Julieta's life. Abandoning her boyfriend, she decides to stay in Madrid in case Antia ever looks for her. Unable to deal with her grief in any other way, she writes the story of her life as if she is talking to her absent daughter.

Julieta narrates the story in chapters that become extended flashbacks to her early romance with Antia's father, their lives together as a family and its eventual disintegration. What was once a life full of loving relationships becomes one of multiple losses even though Julieta herself bears little blame for the tragedies. Julieta is unaware how deeply her daughter was affected by what happened and is bewildered when Antia searches for spirituality at a Swiss retreat. Her sudden disappearance without explanation has left her mother with unresolved grief.

As each chapter unfolds we see the larger portrait of the mother and daughter relationship in all its dense complexity and destructive power. The narrative teasingly denies us knowledge of why Antia refuses all contact with her mother, and year after year Julieta mourns each passing birthday as if it was a funeral. The storytelling intensity is sustained by finely nuanced acting from the two stars who play the younger and older Julieta, and those who play Antia at different ages. The camera-work has a melancholic sensitivity that resonates with the Spanish landscapes and urban settings, and while the story unwinds slowly, to tell it more quickly would lose depth and meaning. Julieta is a darkly sensitive essay about the universal emotion of maternal guilt and its melancholy lifts like a rising fog with a masterfully ambivalent ending that soars.

Pedro Almodovar's 2oth feature film being an engaging and thought-provoking melodrama dealing with a middle age woman , Emma Suarez , living in Madrid with her sweetheart , Dario Grandinetti , about to move towards Lisboa . She , then , decides to stay only in Madrid to take on her existence and the most essential deeds about her missing daughter , Priscila Delgado . Julieta begins to record by writing her sad memories when she was a teen : Adriana Ugarte , and how she meets a fisher, Daniel Grao , and falls for him .

Interesting and agreeable melodrama by Almodovar with plenty of passions , tragedy , love , death and twists . Being based on 3 stories by Alice Munro titled : Chance, Soon and Silence from her collection Runaway . Including great performances from main cast as Emma Suárez and Adriana Ugarte . Attractive as well as sensational support cast with plenty of Almodovar familiar faces , such as : Dario Grandinetti, Rossi De Palma in her seventh collaboration , along with others as Daniel Grao , Imma Cuesta, Natalie Poza , Michelle Jenner , Susi Sánchez , Joaquin Notario and Pilar Castro . Sensitive and enjoyable soundtrack by Oscar Winner Alberto Iglesias , Almodovar regular. Colorful and evocative cinematography by cameraman Jean Claude Larrieu and a lot of frames contains the Red color.

La motion picture was well directed by Pedro Almodovar in his usual style, being produced by his brother Agustin Almodovar and their production company , El Deseo . This is Almodovar return to women's drama which he has not directed on since Volver . Almodovar is considered to be one of the best fimmakers of the film history . He has got a lot of hits with dramatic films as Talk to her , Volver , The flower of My secret , The sin I live in, Abrazos rotos , Carne Trémula, Tacones Lejanos , Ley Del Deseo , Que he hecho yo para merecer esto , Matador ! , but also has made comedies as Women on the edge of breakdown , Kika , Laberinto de pasiones , I am so excited and Pepi Lucia Bom. Rating : 7/0 . Better than average . The pic will appeal to Pedro Almodovar followers.

The screenplay of 'Julieta' is constructed with almost mathematical precision. In one of the first scenes, director Almodovar presents the question that is central to the rest of the film: what happened to the daughter of lead character Julieta? Most of the film consists of a long flashback, in which he slowly reveals the circumstances and events that led to her disappearance. At the end of the film, we are back in the present again, and we know everything there is to know.

It's a story Hitchcock would have been proud of: there is suspense, a beautiful blonde femme fatale, and psychological story elements. Not only the story, but also the cinematography is reminiscent of the master of suspense. Every scene is shot with extreme attention to lighting, colour and camera angle. Small details are the cherry on the cake: notice the way Almodovar introduces the birthday cake for the disappeared daughter: shot from above, as if it is a surreal work of art. Another example is the short sex scene in the train: the viewer sees only Julieta's head, but the rest of her body is reflected in the window pane behind her. As a director, Almodovar wants as much to be in control as Hitch. The result is a very beautiful film in every way - even the soundtrack is extremely tasteful.

'Julieta' is an elegantly filmed drama. There are no outrageous characters, exuberant scenes or other colourful elements we know from his earlier films. This is a restrained, precise and in every way immaculate piece of cinema.

After taking something of a major nose-dive with "I'm So Excited" that many other directors might not have recovered from, Almodovar is back on something approaching his best form. In many respects, "Julieta" is his 'All About My Daughter' though it doesn't have the same emotional clout that "All About My Mother" or "Volver" had. This is Pedro is a very serious mode, perhaps too serious; maybe a little bit of humor might not have gone amiss.

Julieta is played by two different actresses, (Adriana Ugarte and Emma Suarez), at different stages of her life and much of the film is told in flashbacks. These women, and Almodovar's meticulous direction, hold our attention but I was never moved by the film in a way I felt I should have been, at least until the very end.

The source material is three stories by Alice Munro, none of which I've read, but considering how seamlessly Almodovar keeps the material flowing I am sure he has done a very fine job of adapting them for the screen, nor can I imagine how the original conception of filming this in English with Meryl Streep might have worked. So not quite top-notch Almodovar but proof, nevertheless, that he can still deliver the goods when he's called to.

Not Almodovar's best film, but also far from his weakest. This character study/mystery/melodrama has hints of both Douglas Sirk and even Hitchcock in its beautiful look, production design, and score, even if it's story is more wispy than most films by those old masters.

Julieta is a classy, attractive middle-aged woman, living seemingly happily with a successful writer, when she encounters an old friend of her daughter's. The friend tells Julieta of running into the girl while traveling – not knowing the daughter disappeared many years ago, a loss that left Julieta emotionally destroyed.

Julieta abruptly decides to break up with her current man, and live alone to try and deal with the re-awakened grief she had finally managed to tamp down. She writes the story of her adult life and loves – which led to her loss – as a sort of goodbye (perhaps suicide?) letter/diary to her daughter that she knows will probably never be read.

The story is always interesting, and the performances are generally quite strong (with one glaring exception in Rossy De Palma's over the top villain-y maid, who seems like she's stepped out one of Almodovar's far less subtle, more campy stories). But while the characters are going through tempests of great emotion, the film kept me cool, removed and observational. That's no crime, but it did keep it from being a powerful experience -- it ended up being an 'interesting and stylish' one instead. Almodovar has said he intended the film to be seen twice, so one can re-see the scenes understanding the film's later revelations, and as admire his work I'm willing to give it that chance and see if that deepens the experience.