First of all, the film is not sensational at all.
Pain and Glory is the last of Almodóvar's "Desire Trilogy" after The Law of Desire and Bad Education.
The protagonist is set as a male director with a strong autobiographical color.
The story tells the story of Salvador, an elderly, lonely, sick director, who goes to visit his old friend actor Alberto, and Salvador intends to re-establish the relationship between the two people.
However, after meeting each other, Salvador became addicted to drugs under the influence of Alberto. Hallucinations while smoking drugs accidentally open up dusty memories.
Salvador's memories travel back to his cheerful childhood, his school career, and his time in poverty with his parents.
The film is full of different narratives, time, and spatial transformations.
A relationship line in the shot is pulled back to reality, and Salvador and Alberto freeze their previous suspicions and re-explore the cooperation of the script "Addiction".
After the two people were run-in, the script was finally brought to the stage, and Alberto's interpretation was almost flawless.
It was at this time that Salvador and his young lover Federto had a chance encounter, a visit from Federto.
The two sat down to talk about their recent lives, and Federco shared his experiences over the years. Family, lovers, children and work. When Federto asked how Salvador was doing, he floated the word "very good" lightly. Perhaps after experiencing hardships, people feel that many emotional memories are more suitable for freezing in the unknown places in the heart.
There is another emotional line in the shot that is also very touching. It was Salvador who got into bondage with his mother and apologized, and he said, "I'm sorry, Mom." I've never done what you want a good son to look like, and when you speak, I feel it, and can't hear in your tone proud of me. ＂
He apologized to his mother: "I know, you don't like the way I am now, I'm really sorry." When Salvador said this, the plucked lips on his face, the tears of Weinuo squinting at his mother, and the low, almost whispered tone revealed childlike honesty, grievances, and helplessness.
Watching this film, like reading a novel, whether it is describing the likes and dislikes of childhood, the pursuit of lust and sexual orientation in youth, the fight and confusion in Vanity Fair in middle age.
The brushstrokes are delicate and real, understated and affectionate, and there is no glorification in the narrative, almost naked.
"Pain and Glory" uses the interlacing and separation of body and soul to perfectly explain that life is painful, and only by facing the edge will it be parallel to glory.