Critique
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In his first English-speaking feature film, Pedro Almodóvar sublimates the bond between two childhood friends while one, ill, plans to end her life gently.
“Pink snowflakes… Climate change had to have at least one good side. I would have lived to see that.” The line would be absurd in another film by another filmmaker, in Almodóvar not only does it pass, but it gives one of the best scenes of the room next door. These pink flakes fall on New York, seen from the window of the hospital room where Martha (Tilda Swinton), seriously ill, takes stock of the imminence of her own death, the news of which she shares with her old friend Ingrid (Julianne Moore), who came to his bedside. Pink snowflakes to the queerness terminal, twilight, with maddening and ironic splendor at the same time. A first distanced degree, an emotion that can be seen being moved, is the definition of camp, it is also that of cinema, at least that of Almodóvar, whose approximately 23rd feature film (the first shot in English, and his first
