I’ve been slowly making my way through the Pedro Almodóvar library, and one thing I’ve found that even in his most straightforward of films is that he always manages to include at least one good WTF moment that changes the whole path of the narrative. There’s always this element of the unbelievable, but to spin an oft-quoted English saying, one must keep calm and trust Almodóvar because he always manages to work himself and his characters out of any overly odd plot twist. The twist in Talk to Her (Hable con ella) is one I won’t give away as it’s pretty disturbing, but just when you think a character suddenly becomes completely unlikeable, redemption comes about in a strange way.
Hable con ella is one of those films in which the titular women are not present; they are in the past, and they are potentially in the future, but they primarily exist as coma patients during most of the film. Instead, the story is told from the perspective of the men who love them and care for them: the clownish Benigno and the standoffish Marco. It’s a story of men trying to understand women they love: Benigno thinks he understands Alicia because he talks to her, and has been doing so in the four years she’s spent in a coma; Marco is seen as someone who was open and could not stop talking to Lydia during the idyllic period prior to her accident.
They talk because they think that is what a good lover does; the problem, of course, is that they were pretty horrible at listening to the women they loved. Read More