Generational Trauma Meets Motherhood
From Left to Right: Ana (Milena Smit) and Janis (Penélope Cruz) Trying to Induce Labor
(Minor Spoilers Ahead)
What is it about award season that gets everyone so excited? Is it the glittering lights, the fancy get-ups, or the films no one has seen? This time of year overtakes the film industry and film buffs alike to a point where if your film isn’t connected to a huge name it falls through the crevices. Some of the most remarkable films of the year that audiences connect with aren’t taken seriously or fly under the radar. These films are more often than not made by independent filmmakers that don’t garner the same attention as the big names do. Although there are some independent filmmakers who have gained international success, some have yet to experience their genius at play.
Pedro Almodóvar is a filmmaker who has operated under the radar to those outside the film world, but his most recent film Parallel Mothers (2021) has gained waves of attention and been lucky enough to gather over twenty nominations including two Academy Awards and an Independent Spirit Award. His film is a social commentary and trauma analysis on the Spanish Civil War wrapped in a domestic drama about new mothers. Penélope Cruz reprises her long-standing role in Almodóvar’s films as Janis Martinez – a photographer on the edge of turning forty. Cruz is half of the maternal duo while Milena Smit plays the other half Ana – a pregnant seventeen-year-old. The two women meet in their shared maternity ward room and over the length of the 122-minute run time they grow closer because of that bond. To further explain the details would spoil the many twists Parallel Mothers relies on.
From Left to Right: Elena (Rossy de Palma), Arturo (Israel Elejalde) Janis, and Ana Observing the Archeological Site
Almodóvar’s sense of style and experience brings this simple tale to a higher level. By marrying political commentary with melodrama Almodóvar makes his message digestible and more widely appealing to audiences. Although this style works nicely and did its job, the lack of depth or focus on issues surrounding the Spanish Civil War is disappointing. The first moment we are introduced to this topic is in the beginning when we meet Janis and her eventual lover / father to her child Arturo (Israel Elejalde). This intriguing and somewhat mysterious storyline is then practically thrown away to make space for the maternal drama to take stage. We only get brief glimpses of this storyline in quick conversations or text messages. The film focuses on Janis and Ana for so long that we forget that the Spanish Civil War is even a part of the story.
The transitions from the separate storylines are awkward and don’t properly connect. The last sequence of events in the film feels like watching a different story unfold. Although we know that this was the end goal for Janis, Arturo, and Almodóvar, it doesn’t make sense where it’s placed. Understanding the depth of this trauma and how it has spread over generations is compelling enough on its own, but muddying that with a fictional tale doesn’t produce the results that some audiences would hope for.
Even with this part of the film being somewhat disappointing, Almodóvar makes up for it with his characters. The unique blend of personalities within this film makes it entertaining enough to overlook any missteps the director may have taken. Almodóvar’s way of creating distinct characters is best seen within each of the main characters' respective worlds. Janis, Arturo, and Elena (Rossy de Palma) are the serious and hardworking group of adults who have been worn down by time. Ana’s world, on the other hand, is chaotic. Her father is rarely mentioned and is never seen while her mother – Teresa (Aitana Sánchez-Gijón) – comes and goes whimsically. Teresa is more concerned with her acting career than her daughter or newborn grandchild.
Teresa (Aitana Sánchez-Gijón) Showing up to Reconnect with Her Daughter
Although these worlds seem opposite of each other at times, Almodóvar melds them together seamlessly. Aspects from one world slowly make their way into the other and vice versa. Janis’ life becomes more chaotic and unorganized as the film progresses while Ana develops into a stable and loving mother to her child. The parallels shift and distort as their time being mothers advances. There is no longer a clear path for either mother, yet they are surrounded by a more caring and supportive community at the end. Similar to the stories told about the Spanish Civil War, mothers came together to support each other as the time without their husbands grew longer.
At the core Parallel Mothers is a universal story of mothers trying their hardest to provide for their children. Many layers surrounding this core give audiences a reason to stick around. Mystery, history, romance, and a hint of atmospheric horror make this a daunting project to take on, but Almodóvar tackled it easily, showing the world exactly why he’s the most internationally acclaimed filmmaker.