La pelle che abito (2011)

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Titolo originale: La piel que habito–>
Genere: Drammatico, Thriller–>
Durata: 117–>
Nazione: Spain–>

  • Pedro Almodóvar

Scritto da:

  • Agustín Almodóvar (collaboration)
  • Pedro Almodóvar (sceneggiatura)
  • Thierry Jonquet (novel "Tarantula")


  • Agustín Almodóvar (regista)
  • Bárbara Peiró Aso (produttore associato – nel ruolo di Barbara Peiró)
  • Esther García (regista)


  • Alberto Iglesias

Trama del film:

In honor of his late wife who died in a flaming car accident, scientist, Dr. Robert Ledgard, is trying to synthesize the perfect skin which can withstand burns, cuts or any other kind of damage. As he gets closer to perfecting this skin on his flawless patient, the scientific community starts growing skeptical and his past is revealed that shows how his patient is closely linked to tragic events he would like to forget. Written by napierslogs



1 Comment


    RichardSRussell-1 said

    February 25 2012 @ 15:17

    The Skin I Live In (La Piel Que Habito, 2:00, R) — other: drama, 3rd
    string, original

    Spanish director Pedro Almodóvar has a just reputation for taking women
    seriously in his films. His latest effort (as usual in Spanish with
    English subtitles) is no exception, even tho he gives most of the
    screen time to his most accomplished discovery and frequent star,
    Antonio Banderas (seemingly one of the few Hispanic actors whom
    Americans will tolerate in a lead role), playing the brilliant and
    innovative plastic surgeon Robert Ledgard. This is a deadly serious
    role, in marked contrast to Banderas's other current star turn as the
    voice of Puss in Boots.

    The female lead, Elena Anaya, plays Vera Cruz (yes), Ledgard's
    stunningly gorgeous patient, experimental subject, apparent captive,
    and … well, here Almodóvar (who co-wrote the screenplay with brother
    Agustín) gets a bit coy. Is she a manikin, an Eliza Doolittle to
    Ledgard's Henry Higgins, a Sabina Spielrein to his Carl Jung, possibly
    a creature to his Frankenstein? Or maybe none of the above? We know
    only that she seems devoted to him, tho he is unresponsive to her

    Vera is confined to the big bedroom, elegantly furnished, where she
    does her yoga exercises dressed in a flesh-colored body stocking.
    Ledgard has the only key to the room, and he always keeps her locked
    in. He himself stays in the smaller bedroom next door, where he watches
    her intently on a wall-sized video screen. All her food and other needs
    are delivered from the kitchen via a dumbwaiter, and she communicates
    with only 2 people: Robert in person, and the housekeeper via intercom.

    Ledgard is a widower, and we see in flashback that his wife Gal
    suffered a terrible car accident and fire, leaving her horribly
    disfigured even after Robert's virtuoso surgical work and devoted care.
    But even after all his efforts, Gal is unable to stand her pain,
    weakness, and ugliness, and she commits suicide. Unfortunately, it's
    right in front of their tweenage dotter Norma (Blanca Suárez), who is
    driven into hysterics and a nervous breakdown by the sight.

    Ledgard, as one of the world's leading reconstructive surgeons, does
    not lack for cash, so he devotes the next several years to his twin
    obsessions, coaxing his dotter back from the precipice of madness and
    developing a graftable artificial skin, which he somewhat ghoulishly
    dubs Gal, a combination of human and pig genes that's highly resistant
    to burns, cuts, and punctures. Such an epidermis would have saved his
    beloved wife, he reasons, and this alone justifies his transgressing
    the ethical boundaries against transgenics. (This is the only
    science-fictional element in the film, and it's not much of a stretch
    from what modern medicine is actually capable of doing, which is why I
    categorize it as essentially a psychodrama.)

    There are 3 other characters of note: Ledgard's housekeeper Marilia
    (Marisa Paredes), an older woman with secrets of her own; her wastrel
    son Zeca (Roberto Álamo), who pays an unwelcome visit; and studly young
    Vicente (Jan Cornet), son of and apprentice to the local dressmaker,
    who takes a shine to now-teenage Norma as she shyly tries to work her
    way back into normal society.

    We learn most of the above during the first half hour, which leaves us
    wondering just what on Earth is going on here. The remainder of the
    film slowly pulls aside one curtain after another to fill us in. And
    that is all I will say on the subject. You'll have to see the rest for

    And you should.

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