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First tagged "thrillers" by J. O. Booker
Get More Details tags: gaspar noe, sex, drama, mystery, sex change, dvd, movie, david cronenberg, frankenstein, antonio banderas, pedro amoldovar, science fiction
Product Description
Dr. Robert Ledgard (Antonio Banderas) is a driven cosmetic surgeon condemned by personal tragedies. After many years of hearing and error, he finally perfects a new skin – a defense that could have prevented a genocide of his mother in an collision years earlier. His latest “guinea pig” is a puzzling serf whose loyal temperament masks a intolerable mystery. The Skin we Live In is a dictatorial story of secrets, mania and punish from Oscar-winning (Best Writing, Original Screenplay, Talk to Her, 2002) writer/director Pedro Almodovar.
Product Details
- Amazon Sales Rank: #236 in DVD
- Brand: Sony
- Released on: 2012-03-06
- Rating: R (Restricted)
- Aspect ratio: 1.85:1
- Number of discs: 2
- Formats: AC-3, Color, Dolby, Subtitled, Widescreen
- Original language: Spanish
- Subtitled in: English
- Running time: 117 minutes
Editorial Reviews
Amazon.com
For his lass excursion into horror, Spanish conductor Pedro Almodóvar leaves a gore behind for a thrust into truly unfortunate territory. If he suggests some-more than he shows, a tellurian physique still takes core stage, starting with Toledo cosmetic surgeon Robert Ledgard (a chillingly understated Antonio Banderas), who did his best to revive his mother to her former excellence after a burning automobile crash, usually to have his efforts be in vain. Since then, he's strong on a skin surrogate that repels damage. Like Dr. Frankenstein, he's a single-minded obsessive, and even his housekeeper, Marilia (Marisa Paredes), describes him as "crazy," though that doesn't low her friendship to him any less. After tragedy reenters Ledgard's life, he finds a ideal theme on that to exam out his superhuman skin. Almodóvar starts in a benefaction before backtracking 6 years to explain how Vera (Elena Anaya) came to Ledgard's attention. Now, he keeps her sealed in a room by that he observes her each pierce around notice cameras and one-way glass. At all times, she wears a surprisingly graceful physique stocking in sequence to reanimate properly, and spends her days reading Alice Munro novels and creation Louise Bourgeois-inspired sculptures until Marilia's hot-tempered son drops by, during that indicate a domicile dynamics spin out of control. In bettering Thierry Jonquet's Tarantula, Almodóvar has embarked on his many ideally tranquil project. Like a poetic Vera, a film offers cool, appealing surfaces, though a tip behind a lady and a universe she inhabits will chill we to a bone. --Kathleen C. Fennessy
Customer Reviews
Most useful patron reviews
30 of 33 people found a following examination helpful.
A no-spoilers examination of an interesting and unfortunate near-masterpiece
By Whitt Patrick Pond
The many critical thing we can tell we about Pedro Almodóvar's film, The Skin we Live In (original Spanish title: La piel que habito) is that we should equivocate as many as probable meaningful anything about it over a many simple setup before saying it. This is one of those cases where spoilers truly can sack we of a full knowledge of a film. we contend this as someone who went into a film meaningful small about it over a fact that Pedro Almodóvar destined it and that it had to do with a cosmetic surgeon spooky with a puzzling womanlike patient. And that unequivocally is a best approach to see it.
Adapted from Thierry Jonquet's novel Tarantula (original French title: Mygale) by Pedro Almodóvar and his hermit Agustín Almodóvar, The Skin we Live In is a formidable and, as a credentials layers are peeled divided by revelation, deeply unfortunate and chilling film.
It starts in a benefaction day where we see Robert Legard (Antonio Banderas), a distinguished cosmetic surgeon and medical researcher who, given of a comfortless genocide of his mother in a blazing automobile collision several years earlier, is spooky with formulating a new kind of skin higher to a skin we're innate with, one that is not usually both worse and some-more resistant to blazing and damage though also heals quicker and with small to no scarring. In his mansion, Dr. Legard has a special studious underneath his private, personal care, a immature lady named Vera (Elena Anaya), on whom he is perplexing his new skin out. Our initial sense is that Vera is a bake plant that Legrand is caring for, though it fast becomes transparent that Vera is some-more restrained than patient. But usually who is Vera? And how did she come into Legrand's rather controversial 'care'? And given does she so strongly resemble Legrand's passed wife?
As in so many his films, The Skin we Live In has many of Almodóvar's roughly heading themes using all by it: formidable patrimonial relationships; a intertwining of family and personal secrets; a inlet of desire, savagery and obsession; a lengths to that people can and will go; how actions can have a many astonishing and infrequently harmful consequences, and how, ultimately, we can never shun a pasts.
The performances are representation perfect, many quite Antonio Banderas' tranquil and determining - and accidentally chilling - Legard, who has his palace connected so that he can observe his 'patient' from roughly any partial of a house, and Elena Anaya's Vera with her ideal face and physique and a condemned eyes that counterpart out from a skin she lives in, always wakeful that she is being observed. Added into a brew - and subtly operative in other elements from classical standards of fear - are Marisa Paredes's Marilia, Legard's aged housekeeper who serves as a kind of matronly Igor to Legard's Victor Frankenstein, fiercely constant though plainly disapproving; Roberto Álamo's Zeca, a heartless rapist on a run who serves as a kind of Hyde to Legard's Jekyll - lust, fury and animal deceit to Legard's cold tranquil calculation. And final though not least, Jan Cornet's Vicente, a youthful immature dope whose guileless self-indulgence triggers a sequence of events with consequences some-more apocalyptic than he could imagine. All of whom are firm to any other in ways famous and unknown.
The usually reason we rate this 4 stars instead of 5 and call it a near-masterpiece instead of an all-out masterpiece is in how a final acts play out. After holding a spectator by a array of ever deeper and increasingly unfortunate revelations, Almodóvar seems to settle for what we felt was a disappointingly required resolution. But that said, a film still stands out for all of a astonishing places it did take we before that trip behind into a expected. There might be times when you'll consider you've seen this film before and we know what's going on, though we assure you, we haven't and we won't until a revelations have been made.
Highly endorsed for any fan of Almodóvar's and for anyone else who likes well-crafted films that unequivocally pull a boundaries.
4 of 5 people found a following examination helpful.
The Best Film of 2011
By M. K. Rhodes
**NOTE** Beware reviewers here who exhibit vital spoilers given they didn't like a film. Full appreciation of this film requires meaningful subsequent to zero about it going in.
Don't let a awful trailer inhibit you: Almodovar delivers a best film of 2011, and some-more than creates adult for a unsatisfactory BROKEN EMBRACES. This is positively dictatorial filmmaking, with career best performances from Banderas and Elena Anaya, an implausible score, and a many intolerable turn cinema has seen given a early 90s.
3 of 4 people found a following examination helpful.
Flabbergasting.
By Harkanwar Anand
Every now and afterwards a film comes and introduces to a assembly an wholly new unheard of concept. The Skin we Live is a film with a singular plot, really good dramatized, high power story, some super behaving and finished creation me wish there were maybe 3 of 4 mins some-more to it.
Of whatever small we have seen of Antonio Banderas, this is his best film.
The executive Pedro Almodvar has done some vast films. Let's speak - "All about my mother" , "Volver" , "Broken Embraces" , "Talk to her" were done with such a complicated revengeful sincerity. His work, we brave supplement is no reduction than a good book or a good portrayal that lasts for years - it is art. Of these films, All About My Mother was a many touching one though suppose this - we consider a executive might usually have lifted a bar a small with "The Skin we Live In"
A genuine provide and simply among my tip 5 films of 2011. The makers of a film merit all a academy awards they can get though we won't be astounded if this is ignored as it doesn't have a domestic summary though there is a different universe this executive manages to emanate within his films and for a adore of that, this film deserves to be watched. The Skin we Live In stands alone, we have never seen anything like it. It will disquiet you, debase your mind though in a end, possess your opinion of confidence.
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