The ravishing Penelope Cruz stars in the Spanish film, Volver, which can be categorised as a ghost story, yet so full of colour and warmth. Penelope Cruz was perfect for the role of Raimunda, incredibly beautiful with the most expressive eyes yet she remains down to earth exuding a charismatic personality to the viewers. You’ll fall in love with her in an instant. Casting her was a great move as she is acting in the culture of her own. 

Volver means “to turn over” or to “turn upside down” in Spanish, this is greatly manifested in the narrative with regards to Raimunda and Sole’s mother coming back and how Raimunda turns her life around after a series of adversities. Raimunda is put to the test as life brings her to different directions, and yet we see her conquer each one in the movie. She had trouble providing for her family because of her husband, Paco, who kept losing his job, and she had no choice but to work extra hard, working multiple jobs day. The audience tries to empathise with Raimunda in the obstacles she is entangled in.

Women are widely represented throughout this melodrama, giving us an overview of the many patriarchal views on women in Spain, as experienced by Raimunda and her teenage daughter, who was raped by her husband. The movie also tackled many poor aspects of humanity such as discrimination of women and sexist remarks. However, these women are portrayed to be strong, independent and empowered despite the obstacles and predicaments they are faced with. It pays homage to the important women in our lives and how vital their roles are. We see Raimunda’s character evolve as she is faced with these challenges. 

This movie reminds me of the typical, conventional plot lines that could be watched on local modern day television. It explores different moods, big revelations and complex relationships. The film does not even put a spotlight on romantic love, rather it depicts a different kind of love— the love of parents and children. The significance of familial relations is evident in the movie where they visit their late parents and clean their graves, spend time with their ill aunt, Paula and their strong relationships with each other. It has heart wrenching scenes, it deals with many family dynamics, abandonment and of course, death. However, it deals with these tragedies quite lightly portraying it to the audience with exuberance.

Volver reminds us of the feeling of coming home, or the feeing of nostalgia. In order to find solutions to the present, the women have to return to their dark pasts and overcome them one way or another. In the face of lost and triumph, we see these women try to defy their misfortunes, find solutions to their problems through reunion and reconciliation and prosper in the process as the movie closes. 

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Volver is a film that takes me back to the time when I was an eleven year old girl, sitting in my kitchen, watching the latest Spanish teleserye on a miniature cable television set after school. Its familiar archetypal elements such as the evil stepfather, ghost of a grandmother, digging of a grave in the middle of the night, and some sort of a family confession and reunion at the end– these things lead me to forget that I was in some sort of European art film class because everything was so close to my cinematic knowledge.

While Hollywood films usually cast women in roles that could be  complementary with men or soapy teenage chick flicks and romantic comedies, this film showcases a mix of natural realities and peculiar ones that middle class women in Spain go through. A close shot on the widows from the beginning of the film showcase the Hispanic culture of females having the responsibility to maintain and polish the tombs of their departed. This emphasizes the societal role of women as domestic. Moreover, it is seen in the film that the women were battling machismo. Sexual abuse was rampant in their very own homes and the female characters exhibited their courage and strength to face these trials. Irene talks about how the women in their family possessed really bad luck with men and they realized that they do not need them because all that matters is that they have each other.

Penélope Cruz, plays a great breadwinner carrying the weight of not just her own household but that of her sisters and cousins. Despite the hundred percent sensuality that she exhumes, given her appearance, the strength of her chacter showcases her defiance to sexuality, given that she gives pertinence to what truly matters which is her family’s everyday survival. Almodovar shows how women can possess both beauty and strength, not only in the exterior but most especially, intrisically.

Raw cultural elements were seen in the film, celebrating Hispanic traditions and close family ties. Moreover, the various characters show their way of evolving not just as women apart from their men but solely, as people in society that play a role in their neighborhood where they have contributions be it in a business perspective or in a relational view. 

Initially we see tensions building up between the characters as repressed angst have been going on throughout the years. As time passed in the plot, it is revealed that all of these characters have been yearning for the love that has been kept inside and the audience can give out a contented sigh as there is closure at the end of the film (a pro-mass ending similar to teleseryes that usually do not give ambiguous finalities)

Volver plays uniquely on the relations of these women, showcasing the values instilled within these women as pillars of strength, carrying the family and keeping it together, relaying a positive message that there is light and hope in familial togetherness and individualistic empowerment despite the challenging rein of masculinity in their environment. 

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The first impression I had coming into this film was that it would be your typical Spanish supernatural horror film, with its culture surrounding death so heavily. The first few scenes took place in a graveyard, and several conversations later we learn of the death of the main characters’ mother. I never thought that this film would be about something deeper and more complex, and actually be a commentary on the lives of these Spanish women. Never would I have thought to be so immersed in these people’s experiences, and relate to them in a way only real people could.

The issue in particular that this film tackles in such an unconventional way is the theme of sexual abuse and the oppression of women. It is not easy living as a woman in Spain, as the characters went through traumatic experiences at the hands of men—and these men are their husbands and fathers. These women aren’t even safe in their own homes to experience such harassment and abuse from the very people that are supposed to protect them. It is sickening to think of, and so one can’t help but root for the main characters as they go on crazy lengths to cover up their wrongdoing.

But even though this prevalent and heavy issue was seen throughout the movie, it was still very light and enjoyable when it needed to be. It wanted to emphasize the Spanish culture and influence, especially when it came to superstition. It played around with the characters’ belief that Irene, Raimunda’s mother, came back from the dead, especially in her first few interactions with Sole. Even when the two were having a sentimental moment, Irene broke it up by saying, “Don’t say that, Raimunda, or I’ll start crying. And ghosts don’t cry,” to get a laugh out of it.

Lastly, one of the big themes in this movie was the pains of motherhood. Mothers have to work twice as hard, especially in developing or third world countries. The gender roles are still very prevalent there, and the women are expected to do well in their jobs outside and inside the house. This leads them to less time with their families, and an overwhelming sense of exhaustion. Nonetheless, the mothers in this film show us what true love is about. Raimunda wanted to protect her daughter, Paula, and got rid of her husband’s body. Irene went to the countryside and burned down the house that Raimuna’s father and his mistress resided in. One would think of these as insane, but it all came from a mother’s love and their capacity to understand their children’s situations. No one would want to live knowing their daughter was raped or sexually assaulted, and they would do anything to protect their child.

The beginning scenes of Clouds On Sils Maria immerses the viewer into the life and perspective of a personal assistant to a middle-aged, high-class actress. At first, everything seems as if they have an ultimately professional, yet close, relationship, but the movie turns this around after a few brief interactions. We get to delve deeper into the main characters’ emotions, thoughts, and attitude towards life because of the circumstances they are put in, much to the parallel of the plot of Maloja Snake. Many symbolisms and subtle dialogue were placed by Assayas, and this gives the film its many layers and makes you want to solve the mystery of the two characters’ minds.

First, I really enjoyed the parallelisms that the film had with the play Maria Enders starred in, Maloja Snake. As the tension grew between the characters, both emotionally and sexually, one would be confused as to the dialogue being real or just simply being read off of the Maloja Snake script. As Valentine put it herself, “It’s theatre. It’s an interpretation of life. It can be truer than life itself.” We get to see this tension start when Valentine talks of Jo-Ann Ellis, and how fond she is of her acting. Maria reacts quite violently and even asks Val, “What do I need to do to make you admire me?” It is clear that Maria wants the affection and attention of the latter, and maybe part of it is reciprocated, but not enough for her to stay. And just like the end of the play, her object of her affection leaves her in the dust with no remorse or closure.

But the film also talks about the art of acting and how it takes a toll on the actors. Whether film stars or theatre actors, each one puts in their own emotion and experiences into the character and they make it their own. For Maria, a part of her always wants to be Sigrid because a vital role in her teenage years was playing the seductress in Maloja Snake. She wants to stay the youthful, inexperienced, reckless person that Sigrid is, but to her dismay, she actually morphs into the character of Helena. Maria even says to Klaus, “I played Sigrid in ‘Maloja Snake’ when I was 18. For me it was more than a role, and… in some way I am still Sigrid.” Actors have this sense of ownership when it comes to their roles, some even to the point of endangering their physical and emotional well-being to portray the part correctly. This is true for most method actors, and we get to see that their characters really affect the rest of their life.

Ultimately, I think it is safe to say that the film touches on many themes throughout its duration. It talks about unreciprocated love, desire, youth, and life as an actor. But it really makes one want to take a step back and think about these and critique them. None of these characters were exactly likable or perfect, but that’s because this film stayed true to the facts of life. Nobody will stay youthful forever. Not everyone that you desire and chase after will reciprocate that affection. Not everyone in your life is meant to be there forever. And that’s all okay. This film teaches us that life goes on, and all we can do is learn from our experiences.

The film Clouds of Sils Maria is a very interesting film with an interesting turn of events. I admire their play on the role reversals of the character Maria who in her youth, played Sigrid who in the play manipulated an older and more vulnerable woman Helena. Now, years later in a remake of the play, Maria is asked to play the character Helena. Now this is an interesting plot all on it’s own but it is even more beautifully portrayed in the film because it is also reflected in the real life of Maria as she takes on an assistant by the name of Valentine who also in a way is the Sigrid to Maria’s Helena in the analogy. However, Maria sees herself still as the same persona type as Sigrid and really despises Helena’s character persona.

The new director of the remade play, Klaus Diesterweg sees an ageing and problematic Maria who seems vulnerable and perfect for the role of Helena. In the original play, the woman who played Helena, Susan mysteriously died in a car crash after the play’s success. Now many years later, Maria holds a superstitious belief that the reason Susan died was because she played the character Helena. You can see the relationship between Valentine and Maria grow as they are somewhat fond with each other but in the end of the day, Val is still employed by Maria and generally, her ideas aren’t as respected by Maria.

The ending of the film really spoke to me as it alluded to the end of the play Maloja Snake. In the play, Sigrid convinces Helena to commit suicide by going to the mountain. Now what gets really interesting is that the director Wilhelm is also said to have committed in the same mountain. Now with all that in mind, it seems as if Val left Maria in the mountain to do the same? This part was unclear. But as an ending to the film, it did a great job for leaving room for open interpretation.