Dolor y Gloria

March 2019113 minutes
Drama
4
Neither audio nor subtitles are available in your language. Audio is available in Italian.

Dolor y Gloria racconta una serie di ricongiungimenti di Salvador Mallo, regista cinematografico oramai sul viale del tramonto. Alcuni sono fisici, altri ricordati: la sua infanzia negli anni ‘60 quando emigrò con i suoi genitori a Paterna, un comune situato nella provincia di Valencia, in cerca di fortuna; il primo desiderio; il suo primo amore da adulto nella Madrid degli anni ‘80; il dolore della rottura di questo amore quando era ancora vivo e palpitante; la scrittura come unica terapia per dimenticare l’indimenticabile; la precoce scoperta del cinema ed il senso del vuoto, l’incommensurabile vuoto causato dall’impossibilità di continuare a girare film. Dolor y Gloria parla della creazione artistica, della difficoltà di separarla dalla propria vita e dalle passioni che le danno significato e speranza. Nel recupero del suo passato, Salvador sente l’urgente necessità di narrarlo, e in quel bisogno, trova anche la sua salvezza.
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Rotten Tomatoes® score
Audio language
Italian (5.1)
Eligible for Family Library
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Run time
113 minutes
Pedro Almodóvar directed this story of a woman and her circle of friends who find themselves suffering a variety of emotional crises. Manuela (Cecilia Roth) is a single mother who has raised her son, Esteban (Eloy Azorín), to adulthood on her own and has come to emotionally depend on him. One night, Manuela and Esteban take in a production of +A Streetcar Named Desire; after the show, Esteban is struck and killed by a passing motorist as he dashes into the street to get an autograph from Huma Rojo (Marisa Paredes), who played Blanche. Emotionally devastated, Manuela relocates to Barcelona in hopes of finding her ex-husband (and Esteban's father), who is now working as a female impersonator. Manuela becomes reacquainted with old friend La Agrado (Antonia San Juan), a transsexual, and is introduced to Sister Rosa (Penélope Cruz), a good-hearted nun who has to contend with her considerably more cynical mother (Rosa María Sardà). While looking for work, Manuela becomes acquainted with Huma Rojo. Huma, on the other hand, has troubles of her own, most involving her drug-addicted significant other, Nina (Candela Peña). Displaying Almodóvar's trademark visual style and a unusually strong sense of character-driven drama, Todo Sobre Mi Madre/All About My Mother received a highly anticipated theatrical run in Spain before winning the Best Director award at the 1999 Cannes Film Festival; in 2000, Almodóvar would receive the Academy Award for Best Foreign Language Film. © 1999 El Deseo D.A., S.L.U. and Pathe Renn Production S.A.S. All Rights Reserved.
A very varied group of people are in a precarious situation aboard a plane flying to Mexico City. A technical failure (a kind of justifiable negligence, even though it sounds contradictory, but that's what human actions are) has endangered the lives of the passengers on Peninsula Flight 2549. The pilots, hardened, experienced professionals are striving, along with their colleagues in the Control Center, to find a solution. The flight attendants and the chief steward are atypical, baroque characters who, in the face of danger, try to forget their own personal problems and devote themselves body and soul to the task of making the flight as enjoyable as possible for the passengers, while they wait for a solution. Life in the clouds is as complicated as it is at ground level, and for the same reasons, which could be summarized in two: sex and death. The travelers in Business Class consist of a pair of newlyweds, partygoers, worn out by their wedding celebration; a financier and embezzler; unscrupulous in business but also a father afflicted by his daughter's estrangement; an inveterate Don Juan with an uneasy conscience who is trying to say goodbye to one of his women (girlfriends); a rural psychic; a queen of the gossip magazines and a Mexican with an important secret. Each of them has a project in Mexico City, either to work or to escape. They all have some kind of secret, not just the Mexican. Their defenselessness in the face of danger provokes a general catharsis among the passengers and the crew, and this ends up becoming the best way to escape from the idea of death. This catharsis, developed in the tone of a riotous, moral comedy, fills the time with sensational confessions that help them forget the anguish of the moment.
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