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Paco later masturbates when his wife rejects his sexual advances (and this on the same day Paco has been fired from yet another job). From an angle directly over the kitchen sink, Raimunda is shown carefully cleaning a very large knife, her pair of melon breasts tantalizingly mooning the camera. The night before, Paco pauses in the doorway to watch his daughter disrobe. The melodramatic foreshadowing preceding this moment moves between farce and horror. When Raimunda comes home from work to find her daughter has stabbed Paco to death, mother quickly invents an alibi to protect her daughter, and assumes the guilt herself. Poor, hard-working Raimunda (Pénelope Cruz) is married to an unemployed laborer named Paco (Antonio de la Torre), who may or may not be the father of their daughter Paula (Yohana Cobo). Volver is, at its heart, also an affectionate, but complex meditation on the director’s own mother and the womenfolk of his rural La Mancha childhood and poor working-class Madrid youth.ĭeftly and with deceptive simplicity, Volver begins as a retelling of Mildred Pierce. Volver is about family ties, women’s relationships with each other, and Almodóvar’s genuine love and appreciation of women. Critics have esteemed Volver a more mature, if lesser film, and therein lies its seductive charm – it is an impossible hybrid, (in the words of at least one observer) an epic comedy.Īlmodóvar is increasingly concerned with style, and Volver delights, eschewing camp and brittle irony for deeper, heart-felt explorations of mood and the precise experience of complex emotions and relationships. But Volver wends its way playfully through Dalí-esque surrealism, nineteenth-century melodrama, pictorial realism, and classic Hollywood noir, into a complex study of moods and relationships. The hard, bright visual surfaces of his signature hyperreal style still predominate. With Volver Spanish director Pedro Almodóvar seduces his audiences more subtly than in his previous work.