User Reviews

Pedro Almodovar is not a conventional filmmaker by any means. His films openly explore subjects many acclaimed directors fear to tread and absorb in their whole entire careers, but what is always guaranteed with Almodovar is a sense of wonderment and the unexpected, and 'The Skin I Live In' ('La piel que habito') is no different. Based briefly on Thierry Jonquet's 2003 novel 'Mygale,' Almodovar's latest film is a delightful and refreshing combination of multiple genres including drama, thriller and body horror. It's shockingly sincere, beautifully horrifying and has an appeal that will keep the audiences eyes locked towards the events on-screen until the final credits roll.

Dr Robert Lesgard (Antonio Banderas) is a renowned surgeon who is attempting to achieve a breakthrough in bio-medical sciences by creating a synthetic skin through transgenisis. Classified as a horrific mutation by some, and acknowledged by Robert as an innovation, his experiments come at a price. His human test subject is a beautiful woman named Vera (Elena Anaya) who is contained within his home, and cared for by his head servant Marilia (Marisa Paredes). Vera is not like other women, she wears a skin-coloured suit made out of fabric instead of clothes, she is constantly watched by Robert and Marilia, and she never leaves her room, which only Robert himself holds the key too. What follows is a startling journey of discovery as the narrative unravels a story of disturbing past, present and future events; transforming the lives of all those involved.

Beginning in Toldeo in 2012, Almodovar utilizes a constantly underused and under-appreciated device in the nonlinear narrative. He provides the audience with one perception of each character before returning in flashback during the second act to six years previously where further events are explained and through this, the audience's initial observations of the characters become undermined and drastically altered. He then digresses between past and present at will building a comprehensive picture of each character involved as the story develops revealing some startling and disturbing discoveries. This decision to structure the film in this way, also adequately supplements Almodovar's need to explore his key themes including sexual identity, and the nature of the moral of ethics of the human soul after it has been literally stripped bare.

Coupled with the beautiful cinematography from Almodovar's long-time collaborator Jose Luis Alcaine and an original and complimentary score by Alberto Iglesias, 'The Skin I Live In' also becomes an example of technically proficient filmmaking which works alongside the performances of the likes of Banderas and Anaya, as well as the slickly written script which keeps the audience on their toes until the final curtain has been dropped. Pedro Almodovar is undoubtedly one of the most successful auteurs of the last few decades, and with 'The Skin I Live In' he shows that he can almost touch upon a new genre, in the form of body horror genre-hybrid, whilst also retaining all the previous elements, themes and techniques which have made his films the deep-seated critically successful films that they are.

A fascinating and powerful departure for Almodovar, or perhaps more accurately more an terrific hybrid of the best of his old and new. This has the darker, more actively perversely disturbing and violent themes of some of his early work like 'Matador' but shot and directed with the far smoother and more mature hand he has developed over the years. It also uses the more complex and fractured time structure style of Almodovar's more recent work, to great effect.

In the end its a gorgeous looking, philosophically complex mystery and horror film. Although not gory, this is a disturbing work, both on a literal story level, and also for the questions it raises about identity, love, sado-masochism, and passion run amok.

These themes are all Almodovar touchstones, but delivered here with a visually stunning icy touch, and with much more complete logic than in his early works, which often felt less fully thought through, and had more frustrating plot holes and character leaps.

Not a 'scary' film, but a creepy, moody and highly effective one. A dark fairy tale as told by, say Stanley Kubrick.

It's good to see Antonio Banderas reunited with Almodovar, and he delivers a wonderfully complex and quirky modern day Dr. Frankenstein.

Less emotional than my two very favorite Almodovar films (Talk to Her, All About My Mother), but its exciting to see this extremely talented film maker continue to evolve and grow, and I think this represents work that can stand among his best.

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 charms.

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 yourself.

And you should.

As a longtime fan of Pedro Almodovar's films, I will admit the trailer for his latest film The Skin I Live In left me somewhat baffled. Having now seen the film however, I see the method in his madness. The trailer tells you little or nothing about the film but bombards the viewer with crazy images which are in retrospect probably designed to confuse. The trailer serves the purpose of telling the viewer very little of what the film is about while titillating with striking visuals. A bold move but an effective one, because the less you know about this film going in the better.

With that in mind, I'll keep this review short and will try not to give anything away. Antonio Banderas plays a rather unhinged scientist who is keeping a beautiful young woman prisoner in his home while using her as a human guinea pig for a new type of synthetic human skin. That's about as much information as you need. As the story unfolds, petal by petal in that flower-like way we've become accustomed to seeing from Almodovar, each scene adds wonder and flavour to an already robust set-up. Moving at a break-neck pace, not a frame is without beauty and not a second is wasted without pushing the story along. This screenplay is extremely polished and beautifully nuanced.

As usual, cinematographer Jose Luis Alcaine delivers beautifully vibrant visuals, but unlike other Almodovar films, this palette is decidedly less colourful, sticking mainly to Cronenbergian metallic colours fused with fleshy tones but with the odd gash of vibrant colour. It is as beautiful to behold as any other Almodovar film, but perhaps less garish.

In a film that relies on ambiguity in so many ways the cast here must be commended. Delicate balances are achieved by all concerned and it's wonderful to see Antonio Banderas settling into the rather unsettling role of Dr. Robert Ledgard. He exudes the same charisma and sexual bravura that made him famous but without the least whiff of sex symbol status coming through in the performance. He is creepy, strangely alluring and underplays the "mad scientist" bit admirably. Elena Anayas also impresses in a very challenging performance both physically and emotionally, both of which are perfectly effective as her story unfolds. A brilliant character who may not have been so impressive in the hands of a less capable actress. The camera intimately caresses her face and body throughout and she steadfastly rises to the challenge of being as beautiful a muse as a director could ask for.

It is unlikely that Almodovar will win over any new fans with The Skin I Live In but he will surely satisfy his already massive fanbase. A dark, thoughtful, frightening piece but never shying away from the heights of melodrama that Almodovar is known for, this sits beautifully on the line between Cronenberg at his best and a crazy soap opera.

Unique, Gothic and delightfully melodramatic! I love it!

http://charlenefilmblog.blogspot.com/2011/08/skin-i-live-in.html

Pedro Almodovar has created a daring and entirely unique masterpiece, a word that I do not use lightly or often. The Skin I Live In has a lot that of aspects that feel very Almodovar, but there's also a lot of Cronenberg here as well, and with the latter being my favorite director it's no surprise that I fell in love with it quickly. The film is a startling, wild study into a world of obsession, revenge and the complexities of the human flesh. Almodovar has really outdone himself here, crafting a tale of wicked intensity and rarely met eccentricity.

The structure here is one of it's more interesting aspects and yet another film this year that isn't told in a strictly linear fashion. We first meet Doctor Robert Ledgard (Antonio Banderas) in the present day, as he works tirelessly on perfecting a new skin for his subject, the young and beautiful Vera (Elena Anaya). Almodovar establishes us in this present day world, complete with a very Almodovar subplot (a man in a tiger suit comes to the house and brings some trouble) and a lot of baggage for Ledgard. We get to know these people, become intrigued by what brought them to their current state and that we jump back six years to explore this character further.

It's a surprising jump and I must admit that it got me off guard at first, but as we spend more and more time in the past building up to the present I slowly came to terms with what Almodovar was doing. He gave us a stake in the present day world so that when he took us into the past it becomes about more than just laying out the facts. We already have a perception on Ledgard and a curiosity into understanding the events that bring him to where we met him, so the film becomes as much of a fascinating game of putting these puzzle pieces together as it is a character study and all-around masterwork of high drama.

Slowly the pieces start to come together and I found myself constantly trying to figure out what happened in this world, how these events in the past connect to the present day we were introduced to. When we finally get our answer...stunned...amazed...jaw-unhinged...none of these words can even begin to describe what happened to my mind. This is a twist that doesn't exist for shock value by any means but absolutely sent me to the floor, one of the most shocking and unexpected moves in cinema history as far as I'm concerned. It threw me for a major loop and everything I had come to perceive about these characters and their world was altered in an instant. Everything became a thousand times more fascinating and complex with the use of one simple word.

As I said before, this is a piece of the most miraculous and bold high-drama, a world where anything is possible but nothing feels out of place. That is perhaps the most shocking aspect of the film itself, that Almodovar gives us a story filled to the brim with melodrama but none of it feels contrived or too weird or too much. Everything feels totally natural and believable in the world that Almodovar establishes for us. His ability to make this happen is nothing short of extraordinary. Of course he doesn't do it alone and there are a lot of other aspects to the film that contribute to making it work on every conceivable level, to bring us into this incredible world.

Of course there are the performances, which are just a dream on their own. I've never been a fan of Antonio Banderas and I've honestly been hesitant to watch films just based on his involvement, but he delivers something here that I never knew he was capable of. Ledgard is an incredibly difficult character to pull off because our perception of him changes drastically throughout the film, but Banderas masters it without a single hitch. There was never a false move, never a moment where I didn't believe this character was capable of doing what he was doing. He is charming, intelligent, deranged and intimidating, unfolding layer after layer as we go on. It's a remarkable achievement in both character and performance. The other performances work very well to support Banderas and Almodovar's work here, particularly from the absolutely gorgeous Elena Anaya. She is all things sympathetic, manic, intriguing and sensual and when we come back to the present day after understanding what brought her to this place, she takes on a whole new life of internal chaos and complexity. For all of her outward expression it becomes a very internal performance and she is sensational here.

The technical aspects are all on key, all of them impressing without taking the spotlight away from the story, but the one thing that really left a mark was the phenomenal score. If it wasn't for Hanna, this score would be a runaway victory for my personal win right now. Rarely have I seen music so well-utilized for the atmosphere a director strives to establish. The high-wire drama meets it's ally with this music, a soaring operatic work that brings us into this world so completely. It swept me away and completely engulfed me in this world that Almodovar established. The score is a perfect fit for the film because it captures exactly what the overall product is; a brilliant and original opera of miraculous proportions. This is one of those films that I wasn't expecting a lot from and it just blew me away at every level.

Holy cow that's one messed-up story.

A Spanish mystery about a plastic surgeon who practiced skin transplant.

First of all, there were quite a lot of explicit contents here. Not sure if it's necessary.

The most fascinating part was middle part of the movie with a long flashback that showed what happened to the surgeon and how he dealt with the aftermath. And oh boy that was disturbing and gross.

Through this messed-up story was the theme of retribution and obsession. It showed a disturbing way that a person could bring about retribution.

Overall, a disturbing story with great acting. 7.5/10.

In his latest film Almodóvar takes a qualitative jump into new philosophical depths. His usual reflections on the nature of relationships and the consequence of one's actions take on a well- defined shape and advance forward with self-assurance.

The order in which the events of the story are told is a cunning device that allows the director to make us reflect on how superficially - indeed, skin-deep - we perceive reality and how quick we are to judge first impressions and jump to conclusions. What we first perceive one way, those initial scenes that slightly baffle us but which we nevertheless do not hesitate to judge in a specific way, take on a completely new meaning when the story pauses to take us back into the past in order to tell us about an important series of events that happened at the time which bear a direct relation to present events. The new light that is shed on the present changes completely our perception of the story as we had first witnessed it, which is a humbling experience. We are then taken back again to the present and continue watching the rest of the film, but with this completely new understanding of the real underlying motivations for the characters' actions. It is at this point that through a slight thriller-style twist in the plot the story takes on a Shakespearean dimension as it delivers its powerful humanist lesson that vengeance begets vengeance.

Food for thought, in fact enough food to last you days and feed other people, as you are left on the one hand wondering at the concept of skin: what we actually desire when we desire someone, whether all desire is skin-deep, whether the skin does not allow us to see the person behind. And on the other hand you are left with the reflection on how the road of vengeance leads only to self-destruction. When a film leaves you pondering so deeply, I can only conclude it is a great film.

Only a true genius can make one film after another and somehow manage to shock and awe the audience each and every time with his unique talent to transform the deepest darkest subjects of fantasies we could possibly imagine into not only art but into sheer beauty and a total masterpiece.

If you want to see a provocative beautifully directed film that keeps you guessing while glued to the seat then this a film for you. If you are a narrow minded prude then you probably will get nightmares from watching this.

I can never get enough of Almodovar's films, they are as addictive as they are unique.

As far as I remember, this was the first Pedro Almodóvar film I saw, and it was up to my expectations. I heard that he was a very visual director, that he wasn't afraid to show ugly things as they are, with realism and authenticity, and that he sometimes brought us complicated, ambitious stories. This movie is all of those. Honestly, even though it's not a kind of cinema that I particularly like (and I don't think I'm the only one who sometimes feels uncomfortable when realism and rawness are taken to the limit), I liked what I saw. However, there are several flaws, mainly in the story told. I'll talk about that later.

To make this film, Almodóvar called a very competent cast of Spanish actors, and it is really necessary for us to recognize that Spanish cinema is going through a very good phase, with a lot of quality and very talented people. Although we are used to seeing him making American films, Antonio Banderas is Spanish, and it's great to see him here, speaking in his mother tongue. He knows how to give his character a darkly restrained, cold, calculating and slightly psychotic look. Elena Anaya also leaves us with a very satisfactory work, even considering that she doesn't have the material and time for more. Jan Cornet and Marisa Paredes, in a frankly secondary position, provide adequate support to their colleagues.

On a technical level, the film also has some interesting points. Filmed mostly in the Galician region, a short distance from Portugal, it is not a tourist postcard, we are barely able to recognize the locations (I didn't). But this is secondary! The locations are good and well used, the sets are very good (especially the operating room, with all the medical apparatus and a very modern look) and the cinematography is really remarkable. Cleverly edited, it's well paced and time passes without we're noticing.

The screenplay is inspired by written material, but has been so overhauled by the director that it doesn't have much connection with the original source. It's something new, even if we can understand or guess where the inspiration for some details came from. We follow the saga of a surgeon, specializing in plastic and reconstructive surgery, to create synthetic skin that he can apply to burned or injured people. Of course, this stems from trauma - he lost his wife in a burning car, and more recently lost a daughter, who committed suicide. What happens is that, at a certain point, he starts to make increasingly morally questionable experiments, going so far as to kidnap a person. I don't want to say too much, the film has many twists and turns that make the script more complicated than usual, but I won't be being honest if I don't say that there are many details and twists that have no logic at all. They simply do not make sense, starting with the creation of synthetic skin: the reconstruction of a burned face is a medical problem that is still far from being solved, but everyone knows that the skin is a human organ that regenerates itself, under the conditions and right time. It may never be the same as it was. And I can't see how all of this is connected with any hypothetical sex change (I won't say more, watch the film... but knowing that it's a very grotesque story, so get the kids and grandparents out of the room).

Dear lord.... after reading so many glowing reviews of this 'arthouse masterpiece', Pedro Almodóvar's oeuvre was to be honest slightly comical. I was expecting more than a pantomime, a French farce of a film, a Scooby Doo episode with rape scenes, but here it is. it is not shocking, horrific nor psychological, nothing on screen causes the slightest bit of tension due to the lack of character and because of the pretense of the piece to assume that 'I will love it because it's hip', frankly it rather annoyed me. Not a single character makes sense, scenes appear to be crow-barred into place so an extra piece of 10 minute narrative can be made, and most of the film would have been just as affective if it was told by a stranger around a camp-fire.. 'It was on a night like this' indeed... Banderas, whilst doing a great job, just doesn't make sense at all and has half a dozen changes of direction - Is he lonely? Is he evil? Is he a dirty old man? Hmmmm.. Juries out on that one. Still, at least the leading lady yet again catches her death in the name of narrative! And while Elena Anaya is painfully lovely and just about the only consistent role, the story is told with such pantomime it truly is difficult to feel the slightest bit sorry for her. This won a BAFTA? Really?! Is the viewing public that starved of entertainment that this was the best thing on offer? 'Martyrs' is horror. You want psychological thrillers, take your pick. Stop giving this man money! it only encourages him!

The Skin I Live In is really a film that should be seen by a very big audience, obviously it's a movie that probably doesn't appeal to a very big crowd, it appeals to an older crowd or a young hipster type crowd who enjoy foreign films. I have read the novella Tarantula that this is supposedly loosely based on, however I found that it followed the novel extremely closely, I thought a lot of the twists and stuff that were in the book would be taken out if the film but thankfully most are present and accounted for.

Antonio Banderas is so terrific as the leading man, he hasn't looked this great in screen in a long time, I think he seems more at home in his native language, and Elena Anaya is absolutely radiant on the big screen, her face just lights up the screen and she is absolutely exceptional in a very strange role. The story is really a bizarre one, it's seems like a less perverted De Sade and a more understandable David Lynch, it always takes you by surprise and it is highly original and also somewhat daring I think, and thank god a director like Almodovar decided to film it and not some silly director.

The cinematography and music is beautiful, the colours and textures in the film are picked up beautifully by the camera and the music is a great companion to each scene, it's so close to perfection in the production design department that i would go so far to say as I haven't seen a better looking film this year.

This movie is in my opinion the least accessible of all of Almodovar's films but I hope it doesn't put people off, as his touch and style is clear and present here. It's very different, strange, perverted, horrific, beautiful and always entertaining.

Enjoy :)

This movie is beyond my expectation with unexpected twists and turns. Who ever thought of making this kind of movie:? Taking revenge through making it scientific project.:3.

(*Attention!* - *Possible spoilers*)

For obvious reasons I view "The Skin I Live In" as simply putting a new face (literally) on "The Bride of Frankenstein". (Well, sort of)

In spite of its gaping plot holes and blatant inconsistencies (pay close attention to the color of Vincente's eyes), this modern-day "Mad Scientist" flick certainly did deliver a "first" when it came to its very clever, little, final plot twist.

Set in Toledo, Spain, we meet the opium-smoking Dr. Robert Ledgard, who just so happens to be an outstanding, but, decidedly unethical, plastic surgeon, working in the specialized field of trans-genesis research.

Through many years of study and experimentation, it seems that the doc has, in fact, cultivated and perfected a type of graftable skin that is soft and pliable, and, yet, can actually provide an indestructible shield against burns and insect bites.

As one would expect in a mad scientist yarn such as this, Dr. Ledgard has a bitter, hateful grudge to bear and, so, in the name of vengeance, he uses his surgical expertise as a means to right a wrong that inevitably proves to us all that "Two wrongs don't make a right." (Ain't it the truth - Ain't it the truth!)

At times a little slow-paced and confused, The Skin I Live In is, in the long run, well-worth a view.

So, don't be fooled by pale imitations.

Filmed in Spanish with English sub-titles.

"The skin I live in" is a horror-drama which leaves the viewer a little puzzled and doubtful, at least, for me it was difficult to give a definite judgment. I'm not a fan of Almodovar's movies, in this case it was certainly capturing and intriguing as there are interesting plot twists, the criticism concerning the unlikeliness, from a scientific and medical point of view, of the story is in my opinion totally out of place, since it is evidently and consciously implausible, as the director consciously built a totally unlikely story just to explore a very dear theme to him, that of identity. And indeed, the stunning idea that we can remain innerly untouched, although physically changed, comes out very clearly, sharply, and violently. What did not convince me: the story lines are not all well developed, moreover, the characters and their relationships are not enough explored. I also found that some typical elements of Almodovar's style, the red, the blood, sexual violence are too extremist, I perceived some morbid scenes and beastly characters as too exacerbated as to get repulsive. But these are simply part of a very "animal" and instinctual directorial way of looking at human behaviour, and I simply do not like this style that much.

The credits are rolling as I type this, and my opinion may change upon further meditation, but at the present moment, I cannot think of a better film I've seen in my entire life.

This film is equal parts "The Piano Teacher" and "Serbian Film." It is deeply unsettling, profound, and beautifully executed.

I have to admit that my expectations were lowered by Antonio Banderas' involvement and the plot (allegedly) involving a surgeon trying to do something or other. It sounded like a tame, modern, artsy reinvention of "Eyes Without A Face." I suppose that film is a part of its heritage, but The Skin I Live In is much more engaging and unsettling.

I'm not going to take the time to organize my thoughts into a proper five-paragraph format. If you like disturbing stuff, and / or if you are a film snob, this is top-shelf. There's really nothing better out there.

It's one of the sickest movies I've seen, no doubts about that, and I don't even want to know what other twisted things fly around Almodovar's brain, but other than that, I didn't find it to be great at all. Almodovar likes putting out controversial and provoking story lines, there's no surprise about that, and he generally manages to deliver a solid experience. This time around, though, I kind of felt that the movie was only standing by its sick and controversial main subject, and all the other things were just hanging apart. Well, for me it wasn't enough, I think there's lack of development on both the story and the characters, and by the time I guessed what was happening, I was also able to predict the end of it. In the end, felt predictable and hollow, but managed to keep me there watching, just to confirm that what I thought was going to happen, effectively happened. However, this movie is interesting for those like me who already forgot that Antonio Banderas can be a good actor, if he doesn't occupy half of his brain on getting the English accent right. When the guy feels free to express himself in his mother tongue, then he delivers (just like Penelope Cruz), and this is the case.

This film is being billed as a "horror" film or a "thriller", but is neither. It is a disgusting mess, and contains an unnecessarily explicit rape scene which the director almost seems to gloat over. None of the characters is appealing. They are all depressed, mad or criminal in some way, and the whole experience left me feeling like I needed a shower. I don't want to "spoil" the experience for anyone, but I would just say that you need a strong stomach, a good dose of insensitivity and a willingness to not laugh out loud at some ridiculous plot twists. Throughout, Antonio Banderas looks like he wishes he was somewhere else, and his expression never changes, whatever ridiculous development comes.