Spain

Volver

Spanish for "Coming Back," Volver is a return to the all-female format of All About My Mother. Unlike Pedro Almodóvar's previous two pictures, the story revolves around a group of women in Madrid and his native La Mancha. (The cast received a collective best actress award at Cannes.) Raimunda (a zaftig Penélope Cruz) is the engine powering this heartfelt, yet humorous vehicle. When husband Paco (Antonio de la Torre) is murdered, Raimunda makes like Mildred Pierce to deflect attention away from daughter Paula (Yohana Cobo). After telling everyone the lout has left, she struggles to conceal his body. The other women in her life all have secrets of their own. Her sister, Sole (Lola Dueñas), for instance, has taken in their mother, Irene (a sprightly Carmen Maura). Since Irene perished in a fire, is this person a ghost or simply a woman who looks like her? Then there's their childhood friend, Agustina (Blanca Portillo), who is desperate to find out why her mother disappeared after the blaze. Was she responsible? Almodóvar deftly blends the ghost story with the murder mystery in his tribute to the Italian neo-realist films of the 1950s. The resilient Raimunda is a throwback to the earthy heroines of Sophia Loren and Anna Magnani. The latter appears in Luchino Visconti's Bellissima, which shows up on Sole's television one night (thus confirming the link). If Almodóvar's 16th feature lacks the emotional punch of the more audacious Talk to Her, it's less heavy-handed than Bad Education and Cruz is a revelation. --Kathleen C. Fennessy

VOLVER (DVD/WS 2.35 A/DD 5.1/ENG-SUB)

The Orphanage

It's only his first film, but Spain's Juan Antonio Bayona has already figured out the secret to a successful supernatural thriller: emphasize character over special effects. Like Walter Salles's Dark Water and Alejandro Amenábar's The Others, The Orphanage pivots on a pretty woman and an unusual child. When her old orphanage goes on the market, Laura (Belén Rueda, Amenábar's The Sea Inside) and Carlos (Fernando Cayo) settle in with their son, Simón (Roger Príncep). Once acclimated to the remote seaside surroundings, they plan to re-open it as a home for special-needs children. Meanwhile, their seven-year-old doesn't know he's adopted or that he has a life-threatening illness. He does, however, have a lot of imaginary playmates. When Simón disappears without a trace, his parents contact the police, but to no avail. Because Laura has been hearing odd noises and having strange visions, they proceed to consult a medium. Aurora (Geraldine Chaplin, speaking perfect Spanish) is convinced they aren't alone. Carlos has his doubts, but Laura makes like a detective and revisits her childhood--through photographs, home movies, and exploration of the spooky stone manor--to determine who or what abducted her son. Produced and presented by Guillermo Del Toro, The Orphanage is less fanciful than his works, though it does bear a vague resemblance to the ghostly Devil's Backbone. There are a few gory make-up effects, but Bayona mostly preys on our fear of the unknown to craft a first-rate fright fest. --Kathleen C. Fennessy

A WOMAN BRINGS HER FAMILY BACK TO HER CHILDHOOD HOME, WHERE SHE OPENS AN ORPHANAGE FOR HANDICAPPED CHILDREN. BEFORE LONG, HER SON STARTS TO COMMUNICATE WITH AN INVISIBLE NEW FRIEND.

Pan's Labyrinth

Inspired by the Brothers Grimm, Jorge Luis Borges, and Guillermo del Toro's own unlimited imagination, Pan's Labyrinth is a fairytale for adults. Ofelia (Ivana Baquero) may only be 12, but the worlds she inhabits, both above and below ground, are dark as anything del Toro has conjured. Set in rural Spain, circa 1944, Ofelia and her widowed mother, Carmen (Ariadna Gil, Belle Epoque), have just moved into an abandoned mill with Carmen's new husband, Captain Vidal (Sergi López, With a Friend like Harry). Carmen is pregnant with his son. Other than her sickly mother and kindly housekeeper Mercedes (Maribel Verdú, Y Tu Mamá También), the dreamy Ofelia is on her own. Vidal, an exceedingly cruel man, couldn't be bothered. He has informers to torture. Ofelia soon finds that an entire universe exists below the mill. Her guide is the persuasive Faun (Doug Jones, Mimic). As her mother grows weaker, Ofelia spends more and more time in the satyr's labyrinth. He offers to help her out of her predicament if she'll complete three treacherous tasks. Ofelia is willing to try, but does this alternate reality really exist or is it all in her head? Del Toro leaves that up to the viewer to decide in a beautiful, yet brutal twin to The Devil's Backbone, which was also haunted by the ghost of Franco. Though it lacks the humor of Hellboy, Pan's Labyrinth represents Guillermo Del Toro at the top of his considerable game. --Kathleen C. Fennessy

PANS LABYRINTH (DVD/WS-1.85/ENG-SP SUB)

Hamlet

HAMLET, PRINCE OF DENMARK, FINDS OUT THAT HIS UNCLE CLAUDIUS KILLED HIS FATHER TO OBTAIN THE THRONE, AND PLANS REVENGE.

Franco Zeffirelli's stripped-down, two-hour version of Shakespeare's play stars Mel Gibson as a rather robust version of the ambivalent Danish prince. Gibson is much better in the part than many critics have admitted, his powers of clarity doing much to make this particular Hamlet more accessible than several other filmed versions. The supporting cast is outstanding, including Glenn Close as Gertrude, Alan Bates as Claudius, Ian Holm as Polonius, and Helena Bonham Carter as Ophelia. Zeffirelli's vigorous direction employs a lively camera style that nicely alters the viewer's preconceptions about the way Hamlet should look. --Tom Keogh

Bad Education (Original Uncut NC-17 Edition)

Writer/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, Ángel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve Wiecking

The Others (Two-Disc Collector's Edition)

A young woman and her two children reside in a secluded island mansion awaiting the return of her husand from the war. Her children have a mysterious disease that won't allow them to be near sunlight so she is vigilant about keeping the curtains and doors closed at all times.

A welcome throwback to the spooky traditions of Jack Clayton's The Innocents and Robert Wise's The Haunting, Alejandro Amenábar's The Others favors atmosphere, sound, and suggestion over flashy special effects. Set in 1945 on a fog-enshrouded island off the British coast, the film begins with a scream as Grace (Nicole Kidman) awakens from some unspoken horror, perhaps arising from her religiously overprotective concern for her young children, Anne (Alakina Mann) and Nicholas (James Bentley). The children are hypersensitive to light and have lived in a musty manor with curtains and shutters perpetually drawn. With Grace's husband presumably lost at war, this ominous setting perfectly accommodates a sense of dreaded expectation, escalating when three strangers arrive in response to Grace's yet-unposted request for domestic help. Led by housekeeper Mrs. Mills (Fionnula Flanagan), this mysterious trio is as closely tied to the house's history as Grace's family is--as are the past occupants seen posthumously posed in a long-forgotten photo album.

With her justly acclaimed performance, Kidman maintains an emotional intensity that fuels the film's supernatural underpinnings. And while Amenábar's pacing is deliberately slow, it befits the tone of penetrating anxiety, leading to a twist that extends the story's reach from beyond the grave. Amenábar unveiled a similarly effective twist in his Spanish thriller Open Your Eyes (remade by Cameron Crowe as Vanilla Sky), but where that film drew debate, The Others is finely crafted to provoke well-earned goose bumps and chills down the spine. --Jeff Shannon

The Wind That Shakes the Barley

Winner of the Palme d'Or at the 2006 Cannes Film Festival, this gripping drama by Ken Loach (Raining Stones) is set during the early days of the Irish Republican Army, when British occupation of the Irish radicalized many a citizen and caused some to take up arms. Cillian Murphy plays Damien, a medical student on his way to London when he witnesses a couple of atrocities committed by British troops. Instead of becoming a doctor, he turns into a leading and respected figure in an IRA division led by his brother, Teddy (Padraic Delaney). The film provides some fascinating historical insight into the nascent resistance movement as it was in 1920, and Loach brilliantly conveys the profound emotional transition young men had to make to become saboteurs and killers. Loach's realistic style is absolutely mesmerizing, with many scenes built around the dynamics of large groups: contentious meetings, torture sessions, battles, celebrations, and the like. One has the sense of history as a pool of energy, and one also develops a kind of Renoiresque appreciation for the fact that different people on opposing sides of a life-or-death issue have their reasons for believing what they believe. As the story moves along, subtle shifts in the perspectives of men and women who had once agreed to be absolute in their fight for freedom results in a tragic yet understandable schism among Irish patriots. The final half-hour of The Wind That Shakes the Barley says a lot about how the Irish, including people who had known one another all their lives, turned their wrath on one another for so many decades. This is an outstanding film, featuring the best performance yet by Murphy (Red Eye). --Tom Keogh

Driven by a deep sense of duty and a love for his country Damien (Cillian Murphy) abandons his burgeoning career as a doctor and joins his brother Teddy in a dangerous and violent fight for freedom. As the Irish freedom fighters bold tactics bring the British to a breaking point both sides finally agree to a treaty to end the bloodshed. But despite the apparent victory civil war erupts and families who fought side by side find themselves pitted against one another putting their loyalties to the ultimate test. System Requirements:Run Time: 127 minutesFormat: DVD MOVIE Genre: DRAMA UPC: 796019802529 Manufacturer No: 80252

The Flower of My Secret

Pedro Alomodóvar made this misfired, rambling comedy about a romance novelist (Marisa Paredes) whose crumbling marriage has left her depressed and unable to work. At a low point, she writes a scathing indictment of her own books (which are penned under another name), with no one realizing critic and author are one and the same. Almodóvar (Law of Desire) has the start of a great idea here, and for once, he's direct about his sympathy for a character. But nothing else about The Flower of My Secret is so clear. Despite its unusual allegiance to the straightforward "women's films" of the 1950s, this movie blows it by becoming needlessly complicated over extraneous junk, forcing one to grope in the dark for Almodóvar's point. --Tom Keogh

Leo writes romance novels but with a loveless marriage she finds herself fresh out of inspiration. Angel is a tough and gruff journalist with an iron will and a heart of gold. When their paths happen to cross they discover something neither had expected a real-life love affair. Studio: Sony Pictures Home Ent Release Date: 11/24/2009 Run time: 100 minutes Rating: R

El Cid (Two-Disc Deluxe Edition) (The Miriam Collection)

Anthony Mann masterfully directs this classic tale of the 11th-century hero (Heston) who fought to unite Spain. Known as history s "compassionate warrior" the film follows El Cid s remarkable journey from peace-broker accused of treason to the King s fighting champion and later from exiled hero to legendary martyr.System Requirements:Run Time: 188 minutesFormat: DVD MOVIE Genre: DRAMA/CLASSICS UPC: 796019803960 Manufacturer No: 80396

Technically ambitious but artistically underwhelming, this 1961 epic by Anthony Mann (Man of the West) stars Charlton Heston as an 11th-century hero who drives the Moors from Spain. The film has been described as "glum," and that is indeed apt for a story that focuses so much on its central character's losses in the face of his simultaneous, mythic approbation. Then again, Mann has always been interested in the hidden weaknesses in prevailing myths, so that's not unusual. What is unusual in El Cid is the degree to which technology takes over his filmmaking, as it does here with so many grandiose and bravura moments with a roving camera that don't add up to anything beyond spectacle. As an achievement of Hollywood's technical advancements in the postwar years, and also as part of the filmographies of Mann and Heston, the film is well worth a look. But it is not the artistic equal of other epics of its day, such as Lawrence of Arabia. --Tom Keogh

Open Your Eyes

Handsome womanizer C?esar is disfigured in a car wreck, and as he attempts to pick up the pieces of his life, bizarre situations and events seem to occur as a result of his accident.
Genre: Foreign Film - Spanish/misc SA
Rating: R
Release Date: 18-DEC-2001
Media Type: DVD

Imagine if an actor's director like Eric Rohmer--whose films consist almost entirely of conversation between pairs or small groups of people--made a film that incorporated elements from movies like Dark City, eXistenZ, The Thirteenth Floor, The Truman Show, and Total Recall. The result might resemble Alejandro Amenabar's remarkable second feature, Open Your Eyes, which favors ideas over effects and offers twist upon twist with mind-warping agility. This film rewards multiple viewings, pushing the viewer toward one perception of reality, then switching to another until reality itself is called into question. Melodrama, love story, and psychological thriller combine with a dash of science fiction, forming a plot that is both disorienting and deceptively precise.

Set in Madrid, the story defies description, but this much can be revealed: young, handsome Cesar (Eduardo Noriega) is vain, rich, charming, and--following a botched suicide-murder scheme by a jilted lover--horribly disfigured. He'd fallen in love with Sofia (Penélope Cruz) but is now an embittered husk of his former self, stuck in a "psychiatric penitentiary" on a murder charge and hiding behind an expressionless mask. His reality has crumbled, but as the film's agenda is gradually revealed, we realize that there are other factors in play. Exposing that agenda would be a criminal offense against those who haven't seen the film; suffice it to say that Open Your Eyes takes you into the twilight zone and beyond, and does so cleverly enough to prompt Tom Cruise to produce and star in an English-language remake, Vanilla Sky. The 2001 remake, directed by Cameron Crowe, costars Cameron Diaz and Penélope Cruz, who reprises her original role. --Jeff Shannon