'Skin that dwell'

It is not the same when he speaks French, English, Swedes, Danes or Americans, that when speaking in Spanish.

And not ignoring neither the Spanish nor anyone. But it is a matter that comes from behind, far behind, when Spain almost all the films that made was crowded of cures and coplas, of "the Spanish when besa…".

Ya Spain is not what it was. After all that referred to above (some still in the midst of all these scapulars and hosts) were Bardem, Berlanga, Buñuel (although the latter had to take those of Villa Diego because there, the same aforementioned priests and his godson wonder, Franco, not going to let live, much less do).

And for that reason had to appear someone off as a kind of icon of the new peninsula, i.e., someone who was around a Lord creator and left of the ' 80s, outside of the scope of their already help filmmakers. And the Great Lord of the latter u000a31 years is Almodóvar, Pedro.

And now this gentleman, who used to dazzle us, now, to more than that, we are surprised, because "The skin I habit" is a swing, a swing not for violence, something that was even more pronounced in films such as "Matador", but by the fact that we are in the presence of a sort of strange "thriller" covered with a light layer of nothing less than science fiction.

Because of "thriller" becomes evident upon start of history, and the science fiction comes because what makes the renowned surgeon Robert Ledgard is an innovative experiment: create a tough skin that makes the individual immune to mosquito bites and other bugs.

But also submits to his victim, Vincent, a very complicated process of physical transformation that extends for years

Not want to break the spell, the same fascination that is us was adhering to the mind as lapa as we were getting u000ain the recesses of the story, not can rely absolutely nothing more.

Language
but it is necessary that we enfaticemos about that spell, this enormous capacity that owns Almodóvar to make us feel like diving in the armchair, to forget the passage of time (his work reaches nearly two hours) and are outstanding step-by-step detail, amazing detail with who goes splashing this story, which moments we think we are lost in this labyrinth full of byways by which leads backtracking us and later in the diegetic time to then make the light for us, unhappy viewers of the work of a man which is well above the common denominator of the people.

Almodovar is a magician with the Edition, us entangled, us unravels, dominates us through his camera angles, immerses us in a world of sensations with the brilliant use of the score by Alberto Iglesias, known (as it has) u000a(done many times before) as facing a popular voice of features strange, that Buika hardly sounds on these sides but whose verses strung with magical tune with the scene chosen to make it appear.

And, although it is not his original script, as it is taken from a novel by the French Thierry Jonquet, and peculiar detail, also confessed to have been inspired by a film of 1960 work of George Franju, who in turn was inspired by another also French novel, are details that it offers and its own form of having what makes it different andcourse, formidable his film. All that without managing performers, Antonio Banderas, at an altitude as never in Hollywood, Jan Carmet, the Vicente, Elena Anaya, Vera, and the always wonderful Marisa Paredes, Marilia, a division of not too sound names internationally (the flags, of course, the exception), but worthy of a prize package in any u000ayear.

Tab for evaluation
the skin dwell- direction and screenplay: Pedro Almodovar, on novel by Thierry Jonquet photography: José Luis Alcaine musicalization: Alberto Iglesias interpreters: Antonio Banderas, Elena Anaya, Jan Cornet, Marisa Paredes, Roberto Alamo, Eduardo Fernández.

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