Parallel Mothers review: Another glorious Pedro Almodovar movie

For reasons unrelated to cinema, it feels like an age since we last saw a new film by Pedro Almodovar. In reality, it’s only been a couple of years since his Oscar-nominated love letter to creativity Pain and Glory, which proved the Spanish filmmaking legend shows no signs of losing his edge.

His new film, Parallel Mothers, stars Penelope Cruz – their seventh film together since 1997’s Live Flesh. She plays Janis, a photographer who falls for charming forensic archaeologist Arturo (Israel Elejalde), with the affair resulting in a pregnancy.

With Arturo reluctant to leave his wife, Janis raises the child independently, supported by friends and young mother Ana (Milena Smit), who had her baby at the same time. Ana lives with her actress mother, who helps keep the baby as they live away from their home town for unknown reasons. As the two mothers reunite, a secret is discovered by Janis that uncovers a complicated moral choice.

It feels like everything that’s missing from American cinema can be found in an Almodovar film, including compelling female leads and exciting stories that don’t require explosions or ludicrous twists.

While the plot does have its outlandish moments, it’s grounded in something so human that the consequences feel much higher.

We see the communities of sisterhood and family, both good and bad, as well as adult relationships that aren’t resolved by scenery chewing. In Parallel Mothers, the deepest emotions are whispered. The director’s regular themes of family and confronting the past are present and correct, but these perennial subjects are never in danger of becoming stale.

It’s a showcase for the abilities of Cruz, who is an entirely different per- former in her native language. With Almodovar, she has played a number of tough, pragmatic characters, and Janis is no exception.

Her scenes with Elajalde portray someone willing to put themselves ahead of the interests of others, even if that policy is tested in the film’s second half. Her co-star Smit is more vulnerable, with a naivety that’s suitable for her age, particularly when the pair become close. The director’s regular ensemble add flavour, particularly Rossy de Palma as Janis’ flamboyant friend Elena.

Parallel Mothers is another glorious chapter from a director who proves Bong Joon Ho’s assertion that new and interesting stories lie just beyond the one-inch barrier of subtitles. It’s as good as anything you’ll see this awards season.