Parallel Mothers

Grade: A-

There were a couple of times throughout Parallel Mothers where I thought it was taking a cinematic wrong turn or misstep, only for me to realize later on that there was a reason for it. The plot involves Janis and Ana, who become hospital roommates and end up giving birth on the same day. The movie opens with Janis – a professional photographer – doing a shoot with an attractive forensic archaeologist. They get professionally involved when she tries to get his foundation to help excavate a mass grave in her home village, where her great-grandfather was killed and buried during the Spanish Civil War. One thing leads to another, and there’s her accidental pregnancy at 40. I thought this had to be the most elaborate, complicated Meet Cute in the history of film. But it comes back into play later on, in a meaningful subplot.

There are many developments I won’t get into, as it’s better you discover them for yourself, but after having their children, Janis and Ana end up living together. There is a scene where something inevitable starts to happen. I was hoping the movie wouldn’t go there – as it seemed like just another mark in the screenwriting checklist – and I shook my head when it started to go there. But this turned out to be a necessary plot point as well.

I want to tell you about so much that happens, but I also don’t. Parallel Mothers has a voluminous plot, filled to the brim with things to unpack. When the excavation subplot comes back into play, my main focus was on the subtext and undercurrents of the main storyline. It is one of many brilliant aspects of the film. I wanted to pay more attention to the figurative background than the main action.

I have previously seen only one other film from director Pedro Almodovar (Pain and Glory, which I had to see because it had a major Oscar nomination), and I wasn’t a fan. He has achieved something very special with Parallel Mothers. Academy Award Best Actress nominee Penelope Cruz shines as Janis. She puts us through an emotional workout, and keeps us with her, every step of the way.

One of the biggest things I admired about Parallel Mothers was how the characters are so forthcoming. I think one of the laziest screenwriting mistakes you can make is to have your character use the dreaded “I don’t want to talk about it” line – and then spend half the movie avoiding the subject, only to finally stop dancing around it at the end, when the truth comes out and the resolution happens in a quick, sloppy burst. It is infinitely more pleasing, satisfying, and productive if your characters are transparent with each other in real time – and for the most part, they are here. Honesty is beautiful.

Grade: A-