Perhaps the best-known Spanish director, Almodóvar has made many great films over the years; but none with the same degree of auto-biographical nature that Pain and Glory presents.

The film opens with the above-presented imagery, telling us quite clearly we will be delving into the memories of this man. And the narrative then proceeds into three core parts: 1) his relationship with his mother, 2) his relationship with his work, and 3) his contact with a past lover. As the chronological introduction of these three elements into the protagonist’s life corresponds with the order they are mentioned above, it is with the mother-son relationship that we will begin.

The past told through the scope of this relationship is not exactly an easy one. It is littered with unfulfilled expectations, disparities between the life-wishes of the two, as well as the impact the conditions within which they earlier existed have had on their lives. This is conveyed in a realistic way, not exacerbated by over-dramatisation, but rather just delivered via sincere conversation.

Nevertheless, an evident tenderness between the two refuses to dissipate, all of which perhaps makes the relationship all the more tender. And one could say, that it is the passing away of the protagonist’s mother that propels the surfacing of the reflections that drive the narrative of the film.

A reminiscing on the past is also evoked through the narrative device of the protagonist’s being requested to speak about his directorial breakthrough film 30 years after the fact. This leads to reuniting with the lead actor, with whom our protagonist had long since lost touch. And when this actor offers heroin as an ailment to the protagonist’s health issues and pain, it not only heightens the challenges the latter faces, but also instigates and even starker descent into his sub-conscience.

It is no coincidence, therefore, that the actor should take a look through the director’s computer while he is high and nodded-off to sleep, find some recent writing of the director, and insist that he retake his dormant position on the stage and present it.

Though our protagonist objects to this idea, his protests to the development that is already underway quickly give in. And the presentation, pertaining to a lover from the past, who despite no longer living in Madrid happens to be in the audience, proceeds.

Perhaps, in accordance with the themes of being asleep or awakened to the events that permeate life in the course of blood running through one’s veins, it is logical then that the encounter this leads to should spark the recollection of our protagonist’s very first sexual awakening as a boy, revisited from the slumber of his mind.

After all, it is when the boy literally awakens from a snooze upon calls from the older boy, who is doing work around his house, for our young protagonist to bring him a towel, that he sees the older boy naked in the sunlight and actually faints.

I found this to be a beautiful film to watch: a real step into the cultural landscape of Madrid, as seen through the eyes of this semi-autobiographic character. This is a very visuals-driven film, hence my use of more visual excerpts than usual in this text, however these frames comprise only one 24th of a second, whereas the whole 108 minutes of your attention seized in this film is very much worth your while. So I hope you do take my advice to watch Pain and Glory, and enjoy it very much!

Feel free to comment below (anonymous commenting is also possible) if you have any impressions of your own you wish to share.