“Parallel Mothers” (M) ***and a half

TO committed and/or informed cineastes in any native language, two-time Spanish Oscar winner Pedro Almodovar’s name bespeaks movies that draw from the full gamut of elements that, taken as a whole, define any film of merit, regardless of structure, style or dramatic purpose.

Among a wide-ranging set of qualities, what characterises “Parallel Mothers” is its robust, warm-bodied celebration of middle-class female-ness.

Nothing is more female than bearing children. Janis (Penelope Cruz) and Ana (Milena Smit) find themselves in the same maternity ward after giving birth to daughters.

Janis, a 40-year-old photographer, is determined to raise her daughter as a single mum, as her mother and grandmother did before her. In the ward she meets teenager Ana (Milena Smit), who is similarly intent on going it alone. The women become close; they are both in the same boat. Months later, a biological test will establish just how linked these two are.

The drama’s complexities are numerous and wide ranging. Anthropological archaeology provides a thread stretching back in time to a massacre in the Spanish civil war. Janis approaches forensic anthropologist Arturo (Israel Elejalde) about digging up the grave of her great-grandfather whom Falangists murdered in that war. Ambition provides a platform for Ana’s mother to complain about the slow speed of her career progress from bit roles to her first leading part in a play. 

The story’s foundation doesn’t manifest itself until well into the film’s 123 minutes. Hint. The film begins with two babies but ends with only one. Forensic examination of the people involved offers some surprises. Nothing is taken for granted. The tensions are gentle. There’s plenty of scope for smiles, not all for conventional causes. And the film will send you out knowing that you’ve had your money’s worth. Almodovar does it again.

At Dendy, Palace Electric