See the First Poster for Pedro Almodóvar’s 'Silencio' + Watch 9 of His Best Films Right Now

Fresh off 2013’s sexual airplane comedy I’m So Excited!, Sony Pictures Classics has acquired Pedro Almodóvar’s new film Silencio. His 20th feature film, and 10th cinematic partnership with Sony, the film brings together an all-star cast for the Spanish director’s latest foray into the female psyche. Starring Adriana Ugarte, Emma Suárez, Daniel Grao, Dario Grandinetti, Inma Cuesta, Michelle Jenner and Rossy de Palma, the official synopsis of the film tells us:

Silencio” charts the life of Julieta from 1985 to the present day. As she struggles to survive on the verge of madness, she finds her life is marked by a series of journeys revolving around the disappearance of her daughter. “Silencio” is about destiny, guilt and the unfathomable mystery that leads some people to abandon whom they love and about the pain that this brutal desertion provokes.”

Typical, wonderful, devastatingly beautiful Almodovar. Check out the first poster from the film (via The Playlist)above and the first still from behind the scenes on Silencio below.


Although a release date has not been set, we’ll hopefully see Silencio on the fall festival circuit—because we really cannot wait another minute online casino to see this. So to satisfy your Almodóvar needs in the meantime, peruse our list below to see where you can watch a handful of his best features streaming online now. Bonus! Read our interview with Pedro Almodóvar HERE.

ALL ABOUT MY MOTHER // Available to watch on Hulu

THE SKIN I LIVE IN // Available to watch on iTunes and Amazon

BROKEN EMBRACES // Available to watch on iTunes and Amazon

BAD EDUCATION // Available to watch on iTunes and Amazon

VOLVER // Available to watch on iTunes

I’M SO EXCITED! // Available to watch on iTunes and Amazon

TALK TO HER // Available to watch on iTunes and Amazon

THE FLOWER OF MY SECRET // Available to watch on iTunes and Amazon

TIE ME UP! TIE ME DOWN! // Available to watch on Netflix Instant and Hulu

Pedro Almodóvar Announces Female-Centric Cast + Plot Details For His Upcoming Film ‘Silencio’

Film, Pedro Almodovar

Ardent fans of Pedro Almodóvar can rejoice, as he’s finally revealed some new information about his next feature, Silencio. With a return to form with focus on great female protagonist, the film is a bit of a departure for the director’s usual affinity for working with his same troupe of actors, adding two new women to his roster of characters. 

Commenting on the casting of Emma Suarez and Ariadna Ugarte, producer Agustin Almodovar (yes, brother of the film’s director) told The Hollywood Reporter, “Pedro takes great pleasure in witnessing acting and it will be stimulating for him to discover the freshness of these new actors, and as his producer and brother that will be very stimulating for me to watch.”

Plot details reveal the two actresses will play the same character, Julieta, in a drama focusing on destiny, the complexity of guilt and what makes people abandon those they love. Examining a 30-year time span in Juliet’s life, the viewer sees her in 1985 when it seemed like things were going well in her, as well as 2015, when is on the brink of madness.

The film’s title refers primarily to the daughter, who Juliet doesn’t know and who is the center of most of the film’s drama. In January, the director told The Financial Times, “It’s called Silencio because that’s the principal element that drives the worst things that happen to the main female protagonist.” Another notable casting is Rosy de Palma, who will play a competitive servant.

For more, check out our 2013 interview with director Pedro Almodovar about his vibrantly sexual comedy I’m So Excited.

Chatting With Pedro Almodóvar About His Vibrantly Sexual New Comedy ‘I’m So Excited!’

The day before interviewing iconic Spanish director Pedro Almodóvar, I found myself curled up on a very cramped, very stuffy seat on a plane, wishing for a better way to entertain myself. My thoughts drifted to Almodóvar’s latest feature, the bizarrely comedic and highly sexual comedy I’m So Excited! Not that there was anyone in my eyesight that I’d particularly like to have a sexual encounter with and not that I needed to spike my drink with a cocktail of drugs, but a more amusing experience was desired. Yet for the passengers that make up the cast of his vibrant new feature, when faced with the anxiety of imminent danger and the looming fear of death, it’s the carnal pleasures of life that provide their in-flight entertainment, making for an uproarious film that harkens back to an earlier time in the brilliant director’s work.

And after carving a dark hole into our psyche with The Skin I Live In and veering off into some very disturbing territory, his follow-up feature is definitely lighter fare and a welcome change of tone—but that’s not to say it doesn’t merit the same acclaim as his more serious features by any means. Featuring his signature sense of precise style and larger than life personalities, I’m So Excited! is populated with a cast of familiar faces that engage in a debauchery-fueled thrill ride as their commercial flight circles through the sky.
In the film that’s so contained you can almost imagine it set on a stage, I’m So Excited! tells the story those onboard Peninsula Flight 2549 who find themselves trapped mid-air when their plane encounters a technical failure. After the flight attendants drug all of those not in first class, the crew try their best to concoct ways to make the disastrous flight as enjoyable as possible, resulting in a plethora of intoxication and fornication, mirroring the inextricable link between sex and death. 
A few weeks ago, I sat down with Almodovar to discuss his in-flight fantasies, the subtextual political nature of the film, and democratic celebration of liberating oneself.

What’s great about being on a plane is that you’re not tied to anyone or anywhere, you’re outside of your own world for that brief period of time. 
When I’m traveling,  I write a lot. I like that feeling of suspended in time and space.

Did this film stem from a certain love or fear of traveling? Or was it more just a collection of realizations you’ve gathered from observing others as you’ve been in flight.
This was not really based in anything I imagined when I was traveling, because when I’m in a plane, I don’t talk with anyone. What I do is to write because it’s really one of the circumstances in which I feel more with myself—and it ends up being very productive. There are two elements that I think in general are on a place:  one is the fear of death. But of course, if you travel a lot, automatically you don’t think about it, but it’s there—you’re giving your destiny over to the pilots. But also there’s a fantasy of sex. If you’re traveling and you’re in, I hope, business class, you go first to the plane you see everyone else come in and it’s like a catwalk. So it almost feels like an offer, like of all these people who are walking past you are on display—which one would you make love to? Even if you don’t think about sex, you think, oh he’s handsome or she’s beautiful, because they’re all very different. For me, death and sex are very related on a level that’s sometimes unconscious. So for the movie, death and the fear of death, and also this kind of orgy that happens, the film is about that.

This film felt like it harkened back a time when sex and drugs and enjoying oneself was something that was celebrated.
Yeah, absolutely. I didn’t want to make a porno movie, but it’s just trying to celebrate something that is a real gift for human nature—and it’s a very democratic gift because no one can steal it from you. But of course, it’s a comedy, and just in case that things are going very badly, this is the best way to say goodbye to life and to celebrate it like a  gift.

It’s also a return for you to a bigger, vibrant kind of film like ones you made when you began your career as a filmmaker. So was this a conscious effort to go back to that after a film like The Skin I Live In, which was so dark and precise? Or is the story what comes first and the genre you want to explore what comes after?
Humor comes very easily to me, and even in the dramas or thrillers I had to restrain myself because I always have a temptation to put humor in, to turn a particular situation in a humorous situation. Humor, in so far as creating funny situations or funny dialogue, comes easily but in the case of this film, actually having to build a story that cohered and characters that made sense was a lot more difficult than it used to be for me in the 80s. So it was a lot more of a challenge. 
For all the comedy in the film, you have said this is your most political work yet.
Yeah but for that, to understand that, you need to have information about what is happening in Spain right now. The American audience, perhaps  if they are not so aware about the social problems in Spain, they can see the movie and find it funny. If not, I’m wrong because the film itself should be enough without knowing anything about Spain. But for the Spanish people, it is very obvious—even something like how in the movie you never hear the word "crisis" but that crisis is very evident in the movie. Also, it’s about how we feel about the situation we are living now and the word that defines it best is "uncertainty." The Spanish people, we don’t know when it’s going to finish, who is going to be in charge, and that’s awful that feeling—the sensation that there’s not a solution at hand and that we don’t know who might even take charge and resolve it. You can translate that into the sense that we need to land this plane somewhere but we don’t know where and we don’t know what the risks will be. So also then the fact that we’re circling around without any place to go becomes a metaphor of the Spanish situation. And that airport in the film exists and  is a big case of scandal and corruption in Spain. So when the Spanish people see this airport in the movie, they understand that. But what I hope for the American audience, without knowing these details, you can enjoy the movie. I pray for that. The political situation is the subtext, not the context for the film.
And of course, sexuality plays a large role in all of your work.
Yes. [chuckles]
But in this, the way that bisexuality is portrayed and giving into fantasy or desire, and then showing that in a playful and comedic way—simply people begin liberated and allowing themselves to have fun—that’s something you don’t see often, especially in America. 
Yeah, so already the fact that they’re facing danger and the fact that they’ve been drinking a lot makes it such that there’s already a spirit of liberation. So the alcohol, the drugs, all of this is there to propel a kind of opening up. I don’t know if this the first time I’ve done it, but it is true that the masculine bisexuality is quite present in this film. Spain is a very liberated country and male homosexuality in particular is quite accepted in almost every area of society and is quite visible—something that is not quite so true of lesbians, they don’t have the same kind of visibility and even much less bisexuals. If there’s one thing that might make the specter uncomfortable I think it might be bisexuality more than anything else.
But that depends on where the discomfort is stemming from in each person. 
Well, I do it in a more funny way. I hope that it’s funny.
It is. 
Oh, thank you.
I enjoyed how the film was so claustrophobic that it felt so much like it could have been a stage play. All of the things that made it funny and interesting came from dialogue and the rich characters and the interaction between them, not from anything crazy happening externally. Did you set out to create that sort of intimacy through language?
You’re right about this, that it has this theatrical sense, but as I was writing it really my references were more the screwball comedies of the 1930s and 1940s. And those screwball comedies in fact took place in very few spaces as well. But there is something of the theatre that comes back to me or comes out of these kinds of films for me. For example, Women on the Verge, when I was writing that, there’s an element of theatre that inevitably gets conjured—theater but made in a very cinematic way, it’s not like filmed theater. And this particular film, the spoken word is very important. The passengers are used to entertaining themselves during the flight through the TV screens, so it was very important the the TV screens don’t work because then they’re forced to get their doses of fiction and spectacle from the people around them, so this is an important aspect of the film. I like the idea that in this kind of catharsis, when they start talking, this is like the big show for them and also the best way to communicate with each other. In an extreme situation like that, they are completely free to talk, so it’s a lot of fun. They don’t take care, they don’t have to hide anything, and that’s also a very good element for comedy.

Watch the First Full Trailer for Pedro Almodóvar’s ‘I’m So Excited!’

At this point, it’s pretty much guaranteed that anything director Pedro Almodóvar does is going to totally bizarre, totally him, and I will love it. And after skinning us—psychologically—with The Skin I Live In, I’m pleased that he’s went on to make something a bit lighter, albeit about a plane crash.

With his new vibrant comedy I’m So Excited! we’ve already seen a Spanish trailer, a huge batch of stills from the film, and heard a taste of the score and now TotalFilm has released the full trailer and of course, this looks fantastic. In this preview we learn a little more about the plot and get a look at some of the other characters but still with plenty of lip-syncing, dancing, theatrics, drinking, and hip shaking. Also, Penelope Cruz and Antonio Banderas even pop up at the very end. Take a look.

See a Huge New Batch of Stills from Pedro Almodóvar ‘I’m So Excited’ & Get a Taste of the Score

Well, if we were to look at this handsome batch of new photos in rapid succession whilst listening to Alberto Iglesias’ freshly unveiled songs for the film, then we basically have Pedro Almodóvars vibrant new plane crash comedy I’m So Excited right at our fingertips.

Set to be released in Spain next month and in the States later this year from Sony Pictures Classics, the follow-up to last year’s The Skin I Live In looks to be a colorful and bizarre romp through the air with everyone from Penelope Cruz and Antonio Banderas to Hugo Silva and Paz Vega. The official website for the film has launched and with it comes a series of bright new images to excite you for the film. Check out the trailer and peruse the stills while listening to music from the film HERE. Also, check out that sweet shirt Almodóvar is wearing.
























Get Excited for Pedro Almodovar’s ‘I’m So Excited!’ With a New Trailer and Stills

After veering off into some pretty deep psychologically disturbing territory with The Skin I Live In, it’s a welcome change to see iconic Spanish director Pedro Almodovar tackling some lighter material with his latest film, I’m So Excited. Still featuring his signature vibrant use of color and large personalities, the high-flying chamber comedy looks as meticulously crafted as his previous films but this time with laughs and a lightness we’re always pleased to see from the director who can take on any genre and still keep his style. 

With an ensemble cast of Penelope Cruz, Antonio Banderas, Paz Vega, and Javier Cámara (to name a few), the latest Spanish language trailer transports us into what looks like the most colorful plane ride we’ve ever been on. Although the IMDB synopsis reads: plot unknown, the comedy takes place during a plane accident with the passengers and crew fearing for their own lives, confessing their inner secrets—which sounds like the perfect premise for a comedy, right?! 

The film opens Mach 8th in Spain and you can catch it in US cinemas later in the year from Sony Pictures Classics. Check out the trailer and new stills from the film below.




im so exicted


im so excited 2

Chema de la Pena Takes Us ‘From Pedro to Almodovar’ with His Upcoming Biopic

While we all anxiously await the release of Pedro Almodovar’s I’m So Excited—the follow up to 2011’s chilling and meticulous thriller, The Skin I Live In—Spanish filmmaker Chema de la Pena will be releasing his biopic From Pedro to Almodovar, reports Variety. Portraying the director’s early life, the film stems from an in-depth interview conducted with the director, who has become internationally acclaimed throughout the last thirty years for his experimental and brilliant mix of playful comedy and pop-art aesthetics with a somber and often eery sense of melodrama.

Covering the years 1968 to 1980, "From Pedro to Almodovar" chronicles his cinematic work from the premiere of his first 35mm short Pepi, Luci, Bom as well as the 12 Super-8 shorts that helped to establish his signature auteuristic traits. The documentary will also feature extracts from 1978’s Salome, a comic re-cast of the biblical Abraham-Isaac story with God pretending to be Salome." De la Pena told Variety, "What ‘From Pedro to Almodovar’ shows is Almodovar’s large creative drive, irreverent humor, love of melodrama and choral tales, and the importance of friends who were more convinced about his bright future than he was."  

Pena looks to give the film a five-city release, which hopefully includes New York. In the meantime, let’s listen to The Skin I Live in soundtrack—which I occasionally listen to whilst jogging and pretending Antonio Banderas is chasing me.

‘I’m So Excited’ For The New Almodóvar Movie!

Somehow, in all the hustle and bustle of early reviews of Les Misérables and the new Gatsby trailer and the first widespread look at James Franco’s ambitious meta-documentary Interior. Leather Bar. and also that end of the world thing that everyone was getting hyped about happening today, we totally missed the release of the first trailer for I’m So Excited, the latest from decorated Spanish auteur Pedro Almodóvar, which will hit theatres in March of 2013. And we are very, very sorry. 

The film, which appears to be a goofy comedy in the style of his earliest movies, stars many of Almodóvar’s regulars, including Javier Cámara (Talk To Her, Bad Education), Cecilia Roth (Talk To Her) and Lola Dueñas (Talk To Her, Volver, Broken Embraces). Antonio Banderas, Paz Vega and Penélope Cruz all make cameo appearances. Most of the action takes place on an airplane, and the trailer features three very animated flight attendants singing and dancing to the titular Pointer Sisters song. If nothing else, it’ll put a smile on your face. 

Talk to Him: Spanish Director Pedro Almodovar on His Latest Masterpiece, ‘The Skin I Live In’

Pedro Almodovar is the most acclaimed Spanish film director since Luis Bunuel and Carlos Saura. A true auteur, Almodovar‘s work is passionate, colorful, and controversial, often full of comic misfortune and perverse wit. His latest feature film, The Skin I Live In, is one of his darkest pictures in years—and under your skin it will certainly get. Based on Thierry Jonquel’s novel Tarantula, the film stars Antonio Banderas, who reunites with Almodovar after their early work together on movies like Tie Me Up! Tie Me Down!. A frank and hilarious Mr. Almodovar gave an interview from his hotel suite in Midtown Manhattan during the week of The Skin I Live In‘s release.

You’ve been a filmmaker and screenwriter for over a quarter-century. Is there a particular part of the process that you enjoy most?

For me, it’s really the shoot that’s the most exciting. It’s the great adventure! When shooting, what is already written in the script is really more of an abstraction. It’s only what’s in front of the camera that’s alive and breathing, and you have to find a way to control all of that. Truffaut used to say that a shoot is like a train that has lost its brakes, and it’s the director’s job to make sure that the train will not derail. I think it’s dangerous and it really becomes an addiction, but you need to feel that addiction in order to be a director and shoot a film.

Tell me about adapting Thierry Jonquel’s novel Tarantula into The Skin I Live In.

I spend long periods of time writing. With this film, it took me a lot of time to figure out the medium where the characters would interact and develop, and this took me much longer than with other scripts in the past. But once I decided that I liked the script, it took me four or five months in production. I rehearsed with the actors for at least two months. I edit the movie during the shooting period, though the chronological structure is always decided by the script. In the USA, directors have a very different relationship with the film and the editing. The director might not have access to the footage while shooting, but I insist on it.

What is your relationship like with your actors?

I work more like I am directing a theater play rather than a movie. Everything is rehearsed for five months and the shooting is around ten weeks. This is something I really demand as a director. My movies are not expensive to make, but I demand more weeks than most. In Spain it’s usually eight, but I demand ten or eleven weeks. This is just the way I work–I work very hard with the actors.

It seems you tend to work with the same actors for years, particularly female certain female actors. Why do you think this is?

Ah, yes. It’s not something I’ve done consciously. It just has happened that way. I don’t feel that pleasure or pain is experienced any different between a man or a woman, but I think it is true that women are more spectacular in their reactions, and more expressive and a lot less judgmental towards what they feel and a lot more direct. Also there is a lack of prejudice in general that it makes it more interesting. Women even in a conservative society tend to be less prejudice than men. So for me, at least, it becomes more attractive. The women from my childhood influenced me very much. They were very strong and they marked me in a very particular way.

You have discussed your childhood before. Are there subjects you don’t feel comfortable talking about?

Oscar Wilde used to say, there is no such thing as indiscreet questions, only indiscreet answers. You can say that I am ready for anything.

What’s most challenging for you as a director?

I don’t want to be too transcendental, but the challenge is always to survive. For me the biggest challenge is the changes in my life and confronting them, and of course that has to do with getting a little bit older. For example, I still want to shoot movies as if I was 25, the way in which my outlook on life was colored. I think it’s different now, but I would love to recuperate the feeling of the first time. My philosophy is to never throw in the towel.

I don’t think you should be too concerned. Do you read reviews of your work?

You can’t ask people to see a movie twice, but in Madrid I asked the audience the first time it screened to see it twice. See the movie and take it home, sleep with it, because in my experience you realize what the movie is about after sleeping on it. Everyone who has seen it for a second time has really enjoyed it a lot more. I tend to see films twice, not only the ones I like but also the ones that I do not like. My movies are very overwhelmed with emotion. What I hear always is that the second time, people like it more in the sense that they can pay attention to the details because the plot is very extreme and the twists—once you are familiar with the movie, then really you can enjoy much better.

Do audiences react differently to your work in Spain than in America?

The American audience tends to be noisier, and have very immediate reactions, which is good. For example, I write humor into the script, but of course there will be moments when the spectator will be laughing at something I was not expecting, and I think it’s out of nervousness and discomfort. It’s not good or bad, but it is interesting. As a director I welcome all of that because I think there is an entire range of reactions to any one of my films. The film becomes one hundred different films depending who is viewing it.

How about the role humor plays in your films? I find most of your work immensely funny.

You must never be embarrassed about finding something funny in a dramatic moment, because life itself is like that. It’s something that belongs very much to American culture, which robes the ability to react. The contrary happens in Spanish culture. Pain is always mixed with humor and tragedy is always part of humor, too. It’s like life — humor makes it more palpable, more livable. A movie is like a person. You understand a person better as you talk to them and get familiar with someone. I know a movie is something to be seen and forgotten with the passing of time, but The Skin I Live In demands a special kind of attention.