A scene from ‘Parallel Mothers’

Review: ‘Parallel Mothers’ ties its characters into complex knots

‘Parallel Mothers’ follows two single mothers who meet by chance at the hospital and become unexpectedly intertwined as they both confront deep traumas.

Secrets, old and new, can be a heavy burden on the keeper. However, there’s many circumstances in which keeping a confidence may seem necessary. For instance, revealing it may cause avoidable harm or it may not be your secret to tell. Conversely, things that are hidden to cover illegal and/or immoral acts need to be exposed so healing and justice can be had by those affected. Regardless of the reasons, some secrets are more difficult to keep than others, garnering sympathy for the one keeping a buttoned lip, while others are more challenging to uncover, earning admiration for those who succeed. In Parallel Mothers, a woman finds herself trying to maintain one façade and simultaneously unearth a long-buried crime.

Janis (Penélope Cruz) is a successful fashion photographer. After a session with a forensic anthropologist (Israel Elejalde), she asks him to help exhume a mass grave containing the body of her great-grandfather and nine others who were among the 100,000 citizens that went “missing” during the Spanish Civil War. The two also have an affair, resulting in a late-in-life pregnancy that thrills Janis, but ends their relationship. Months later, Janis shares her hospital room with Ana (Milena Smit), a soon-to-be teen mom whose pregnancy was less of a joyous event. However, after some encouragement and support, she becomes determined to create a happy life with her child. The new single mothers take their daughters home, only fleetingly staying in touch until their paths cross again some time later and their friendship grows more complicated.

Over the course of just a couple of years, Janis finds herself in long-desired, new and momentous positions. She’s delighted to be a first-time mother, but circumstances no one could have foreseen cast a shadow on her joy — though she ensures no one else suspects even the smallest cloud exists. Janis surrounds herself with support and has no ego when it comes to providing for her daughter. In the meantime, her lengthy pursuit to bring closure to at least 10 families whose loved ones were taken away in the night never to return may finally be coming to a head. Janis is especially conscious of the country’s attempts to forget certain atrocities, schooling Ana on the harsh realities of their ancestors and committing to right at least this one wrong.

Both Janis and Ana experience extreme transformations over the course of the picture and although motherhood initiates it, they are both allowed to be more than just caregivers. Director Pedro Almodóvar sets out to tell two stories that intersect in Janis, though one somehow manages to make difficulties with the other easier to accept — which is quite incredible considering the magnitude of the trouble. Cruz, consequently, delivers an exceptionally nuanced performance as she experiences a range of emotions, both external and internal, trying to aid audiences in understanding her choices regardless of whether they agree. In the meantime, newcomer Smit holds her own opposite the veteran, bringing all the uncertain energy of a hard-pressed adolescent to life. Interestingly, in spite of the hardships both women encounter, they maintain an incomprehensible glass-half-full attitude.

Director: Pedro Almodóvar
Starring: Penélope Cruz, Milena Smit and Israel Elejalde

Similar Posts

  • Review: TIFF 2018: ‘Her Smell’ tells a reckless story with precise flair (Includes first-hand account)

    The image of the “tortured artist” is cliché only because it’s been shown to be true so often. The same goes for addicted musicians and celebrities entering rehab… or worse, dying from overdoses. Of course, all of these things happen to “regular” folk too, but their exploits don’t usually make headline news, nor do they have hundreds/thousands/millions of fans hanging on their every word. It’s almost a tale as old as time and one that’s been portrayed many times for the screen, but there’s still some people out there looking for different ways to tell this story — as shown in Her Smell.

  • Review: ‘The Price We Pay’ fails to uncomplicate costs of tax avoidance (Includes first-hand account)

    Globalization and the state of the economy continues to be a hot topic of analysis, accusations, recommendations and predictions. Recovery after the recent worldwide financial crisis has looked different in most countries as governments sought appropriate ways to bolster their markets and support their citizens; expectedly, some have been more successful than others. But most democratic nations are built around the concept of a welfare state in which taxes are used to support publicly funded programs and infrastructure that protect and promote the well-being of its citizens. The Price We Pay provides an in-depth exploration of how companies are avoiding their “fair” contribution to this system and the consequences of their actions, particularly on the middle class.

  • Review: ‘Fantastic Beasts and Where to Find Them’ keeps the magic alive (Includes first-hand account)

    First capturing the audience’s attention with the written word, the Harry Potter series then gained fans around the world with the film adaptations. Over 10 years, J.K. Rowling‘s beloved characters grew up on the big screen and the young actors that played them were immortalized as they grew into young adults before millions of eyes. But everything must come to an end, and eventually the final battle was waged and admirers said goodbye to Hogwarts’ brave students. However, many were later relieved to learn this was not just the end of the journey but the beginning of a new one, an earlier one. Rowling’s Fantastic Beasts and Where to Find Them is a prequel to the renowned tale, taking place decades before the saviour’s birth.