If I tried to describe a Signac, this looks like all the words I'd use.
One of Almodóvar's more restrained films, comparatively speaking. The plot is told almost completely linearly, with inconspicuous cuts marking sudden leaps in time. The set design isn't as flashy as the home furnishing catalogs in which The Human Voice or Pain and Glory are set. This is probably his more straightforward work since Volver, with its focus directly on the relations of these two mothers, and all the lurid, messy stories that come out of it.
It's a directness that…
Saw all 24 hours. The whole thing was sublime, and I can only offer some musings and observations:
• These characters do so many things with clocks. They start the clocks. They stop the clocks. They enter the clocks. They climb the clocks. They pull the clocks out of corpses. They kill using the clocks. They kill the clocks. They embrace the clocks. I was geniunely curious if someone would pull an American Pie with a clock.
• I knew…