Director: Pedro Almodovar

Starring: Penelope Cruz, Milena Smit, Israel Elejalde, Aitana Sanchez-Gijon

Primary genre: Drama

Nominated for: Best actress, original score

“Parallel Mothers“ is not necessarily a story about the difficulties of single motherhood in modern Spain but a realistic presentation of human relationships that are forged under peculiar circumstances, a theme resonating deeply in Pedro Almodovar’s eclectic filmography. The bond between Ana and Janis is unusual with several (emotional, physical, mental) layers influenced by a number of external factors (e.g., relatives, babies, work).

Almodovar continues to implement a fresh approach towards troubled relationships, a far cry from the melodramatic and preachy undertones of English speaking dramas. His script accepts existing characters whose superficial traits (e.g., sexuality, age, gender) do not define them as individuals nor let them dictate their actions. Denouncing the typical tropes of “Internet social justice” by making minority characters a spokesperson for an entire group, he chooses instead to prioritize a story and the emotional journey of two unique individuals over the course of two hours. Almodovar wisely steers clear from exercising any critique due to the ambiguous nature of the proceedings and what could have been a breaking point for Ana and Janis, is being used as a ploy to further develop the characters in an organic way (accompanied by the distinct score of Alberto Inglesias (“The Constant Gardener”) (2005)).

At its heart, a tremendous Penelope Cruz continues to deliver stellar work in her native language, complemented nicely by Milena Smint’s more esoteric (and modern) emotionally take to the on-screen events as the younger Ana. Both are supported by extraordinary performances from Aitana Sanchez-Gijon (Ana’s mother) and Rossy de Palma (Janis friend and boss) whom in a nice twist can be seen as a reflection of the film’s title that is open to interpretations.

Yet, “Parallel Mothers“ has some misplaced (i.e., overindulgent) political undertones in a catalytic prologue regarding the Franco regime and its committed atrocities which does not get any screentime until the very (extended) end. Someone might wonder whether Almodovar should have explore this in an different film and expand his topic vistas into a different territory but that is an different story altogether. A blink-and-you-will-miss-it MeToo commentary does not get the attention it deserves, further complicating the plot unnecessarily with the provision a psychological canvas that represents the main leads but remains half-baked.

You could say that “Parallel Mothers” is classic Almodovar. There is plenty to admire and fans of the Spanish director probably will not be bothered as they witness A+ acting and nicely written relationship. Some scripting missteps and an extended running time though prevent it from reaching the emotional heights of his previous film (“Pain and Glory“ (2019)).

+Stellar acting

+Great supporting cast

+Realistic depiction of relationships

+Almodovar observes, does not criticize

-Extended running time

-Disjointed prologue and epilogue

-Political undertones feel like they belong in a different film

-Unexplored MeToo moment