Review: Pedro Almodóvar’s 'Parallel Mothers' with Penélope Cruz looks at two expectant mothers—one happily so, the other not
The colors alone are a tip-off—cheery pastels that, combined with bright nothing-bad-could-happen-in-this-story lighting, announce “Parallel Mothers” as another Pedro Almodóvar film. Penélope Cruz is Janis—her hippie mother named her after Janis Joplin—a magazine photographer who, in the radiance of her 40th year, discovers with delight that she’s pregnant, and will soon be a single mother. Janis shares a maternity-hospital room with another single-mother-to-be.
There’s so much to sort out that Ms. Cruz may be the best place to begin. She is her usual incandescent self. She is also, in a sense, all but impossible to find—a tribute to her ability to disappear within her roles. Watch some actors, even very good ones, and you catch glimpses of the wheels turning, the performer at work.
A funny aside at the beginning foretells a shattering climax. Janis is shooting a celebrated, gravely handsome forensic archaeologist, Arturo , for a cover story; the magazine wants him to pose with a couple of skulls, à la “Hamlet” and the grave-digger scene.
All of the performances are superb. Ms. Smit is a special revelation. This is only her second feature, though you’d never know it from the alacrity and intensity of her scenes with Ms. Cruz. Still, it’s hard for a while to see how Mr.
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