Los abrazos rotos

Name: Los abrazos rotos
Director: เปโดร อัลโมโดวาร์
Genre: หนังชีวิต, หนังรักโรแมนติก, ระทึกขวัญ
Released: 2009-03-18
Duration: 2 h 7 min
Rating: 7.148
Cast: เปเนโลเป กรุซ, Lluís Homar, Blanca Portillo, José Luis Gómez, Rubén Ochandiano

"Passion, obsession, wealth, jealousy, family, guilt, and creativity."

Harry Caine, a blind writer, reaches this moment in time when he has to heal his wounds from 14 years back. He was then still known by his real name, Mateo Blanco, and directing his last movie.

รับชมตอนนี้ ดูตัวอย่าง

นักแสดงนำ

เปเนโลเป กรุซ

Lena
Lluís Homar

Mateo Blanco / Harry Caine
Blanca Portillo

Judit García
José Luis Gómez

Ernesto Martel
Rubén Ochandiano

Ray X
Tamar Novas

Diego
Ángela Molina

Lena's Mother
Chus Lampreave

Concierge
Kiti Mánver

Madame Mylene

เรื่องย่อ

Harry Caine, a blind writer, reaches this moment in time when he has to heal his wounds from 14 years back. He was then still known by his real name, Mateo Blanco, and directing his last movie.

คะแนน

7.1 / 10

717 รีวิว

1 ยอดนิยม

1 รีวิว

badelf
7 3 พ.ค. 2568

Broken Embraces: Almodóvar's Hitchcockian Love Letter to Cinema In "Broken Embraces," Pedro Almodóvar doesn't so much break new ground as he refines the soil he has long cultivated. Following masterworks like "Talk to Her" and "Volver," this film represents not a revolution but an elegant culmination of the Spanish auteur's preoccupations, filtered through a distinctly Hitchcockian lens. The film unfolds as a complex origami of narrative, with time folding back upon itself to reveal the tragic love story between filmmaker Mateo Blanco and his muse Lena. Here, Almodóvar pays homage to Hitchcock's fascination with voyeurism, doomed romance, and the thin line between creation and destruction. The film's noir elements – jealousy, revenge, hidden identities – feel like deliberate nods to the Master of Suspense, yet remain unmistakably Almodóvarian in their execution. At the center of this kaleidoscopic narrative stands Penélope Cruz, delivering a performance of remarkable complexity. As Lena, she exists simultaneously as object and subject, victim and agent of her own destiny. Cruz accomplishes the seemingly impossible task of projecting emotional transparency while maintaining an enigmatic core – we feel we know Lena intimately yet remain haunted by her fundamental unknowability. It's a testament to Cruz's evolution as an actress under Almodóvar's guidance. The meta-cinematic aspects of "Broken Embraces" – the film-within-a-film, the exploration of directorial vision (and its literal loss), the power dynamics of the creative process – create a hall of mirrors where art and life endlessly reflect one another. Almodóvar seems to be commenting on his own relationship with cinema, suggesting that creation itself is a form of obsessive love. Visually, the film showcases Almodóvar's mastery of color symbolism and compositional precision. Each frame feels deliberately constructed, with his signature vibrant palette serving narrative purpose rather than mere aesthetic pleasure. The contrast between the warm, sensual tones of the love affair and the cooler, more austere palette of the aftermath tells its own emotional story. "Broken Embraces" may not represent a dramatic leap forward in Almodóvar's filmography, but it demonstrates something equally valuable: a master filmmaker confidently synthesizing his influences and obsessions into a work of surprising emotional resonance. Like Hitchcock's later films, it feels like the work of an artist less interested in shocking his audience than in revealing the profound mysteries that have always driven his creative vision.