Julieta movie, Almodóvar’s 20th feature and, in my opinion, his greatest since “Volver” a decade ago, is a picture of such calm certain competence that it reminds you that there is almost no one in America filmmaking now who compares to him. The article Julieta movie review would like to give you it’s a more specific picture of the acting, plot, and so on.
Overview of Julieta movie 2016
- Genre: Drama, mystery, romance
- Director: Pedro Almodóvar
- Writers: Pedro Almodóvar, Alice Munro (basado en “Destino”, “Pronto” y “Silencio” de)
- Stars: Emma Suárez, Adriana Ugarte, Daniel Grao
Julieta began filming in April 2015, with cinematographer Jean-Claude Larrieu and regular collaborator Alberto Iglesias writing the film’s soundtrack. Another longtime partner, Sonia Grande, was in charge of the film’s costume design. Filming was supposed to start on May 6, 2015, however, it actually started on May 18, 2015. So, where was the Julieta movie filmed? The venues for filming included Madrid, the Galician Ras Altas, La Sierra in Huelva, the Pyrenees in Aragón, Panticosa, and Fanola.
The film received positive reviews from reviewers in Spain, notably La Vanguardia, which linked Julieta to George Cukor’s and Kenji Mizoguchi’s female-centric films while noticing echoes of Alfred Hitchcock in Almodóvar’s writing. Julieta received a favorable ovation at the Cannes Film Festival, and French film reviewers were particularly kind. Julieta had an average rating of 4.4 out of 5 from 29 reviewers in France, according to AlloCiné, making it one of the best-rated films produced in France in 2016.
Another film review: Broken Embraces Movie
What is the Julieta movie about?
Julieta, a beautiful, intellectual middle-aged woman leaving Madrid for Portugal to start a new life with Lorenzo (Talk to Her Dario Grandinetti), is played by Emma Suárez. Julieta’s future plans are thwarted by a fortuitous meeting with a childhood acquaintance of her estranged daughter, Anta. Rather than moving on, she returns to the apartment complex where she and Anta used to dwell in order to open the account of their sad, quasi-mythical journey.
Back in the 1980s, we see a younger Julieta, now performed equally well by Adriana Ugarte, one of the film’s numerous talismanic doublings. A nocturnal train journey provides a fateful brief encounter with love and death for this spiky-haired classics teacher (Greek myth runs through these stories), laying the tracks for all that is to come: her relationship with Galician fisherman Xoan (Daniel Grao), the birth of their beloved daughter, Anta, and the predestined separation from both.
Now let’s watch the Julieta movie review
This one of the best Spanish movies, like most Almodóvar films, is centered on women. Its plot may be summarized as follows: a woman confronts the agonizing mystery of her lengthy estrangement from her daughter. But this is just the beginning of a story that will become deeper, more resonant, and more complicated as the director develops it.
The movie Julieta begins with visuals that are profoundly noteworthy, as is typical of Almodóvar. We see beautiful crimson cloth folds swaying across each other, almost like lovers’ bodies. What appears mysterious is revealed to be the gown of Julieta (Emma Suárez), a middle-aged, middle-class lady who quickly wraps a little sculpture in bubble wrap. Lorenzo (Daro Grandinetti), the love of her life, pays her a visit at her chicly minimalist Madrid apartment. He wants to talk about their forthcoming holiday to Portugal. But this isn’t going to be a relaxing vacation.
That’s because an unexpected meeting throws her seemingly comfortable and peaceful life into disarray. She meets a trendy young woman one day who claims to have met Julieta’s daughter in Lake Como and that she now has three children. Julieta becomes depressed as a result of this news, which indicates that it has been a long time since she has seen her children, and her thoughts are pushed back into the past.
Julieta (now Adriana Ugarte), a beautiful and daring classics teacher, embarks on a nighttime train journey that would transform her life three decades ago. She rushes to the bar vehicle as an older guy attempts to strike up a conversation with her, where she meets Xoan (Daniel Grao), an attractive young fisherman. That night, the two make love, but something unexpected happens: the guy she met the night before commits suicide, sparking a sense of guilt that would manifest itself in many ways later in the novel.
We get a clear image of some of the characteristics that distinguish Julieta from his earlier works, but “austerity” doesn’t imply he’s gone all Bressonian. Both the narration and the visual style of the film have a luxuriance to them, but it’s a luxuriance that isn’t flamboyant or cheeky. Almodóvar creates scenarios that are both economical and exquisite, and that are so accurate that they may be used as school examples. His colleagues include composer Alberto Iglesias, whose mournful tune I believe is the greatest I’ve heard in a film this year, along with cinematographer Jean-Claude Larrieu and editor José Salcedo.
The two women who play Julieta deserve praise for their respective performances as well as the way Almodóvar weaves them together. When I was viewing the movie, I couldn’t tell if I was seeing two ladies or one who had been altered by makeup and special effects. In and of itself, the near incredible seamlessness is a miracle.
As a young Anta dries her grieving mother’s hair, Ugarte’s face vanishes behind a towel and reappears as Suárez, Julieta’s youthful appearance changed by anguish. This is a story filled with folks living an underground existence, trapped by the immense silence that is the actual villain of the play, whether via coma, sadness, or dementia. I thought that the quiet deserved to be broken by wild applause after being swept along by Almodóvar’s vision.
In short, the Julieta movie is a play populated by characters who live in the shadows, enslaved by the immense quiet, which is the actual villain of the piece. Actually, people thought that the quiet deserved to be broken by wild applause after being swept along by Almodóvar’s vision.
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