Devices

In Habla Con Ella, Pedro Almodovar uses non-linear chronology to create a more character-driven film rather than one preoccupied with plot. The events of the story unfold not according to chronological time, or in the sequence in which they occurred. Instead, the events unfold through the eyes of each character. This allows the filmmaker to provide an impressionistic or even semi-abstract view. The audience has deep insight into how each character frames every event. This way, the same event can be viewed from multiple angles and perspectives. In fact, it can even be said that the events are only meaningful to the film insofar as they are meaningful to each character. The non-linear plot order allows the story order to maintain its integrity because the story does not depend on linear time.

Using a non-linear chronology in Habla con Ella entails switching back and forth between different time periods. This allows the filmmaker to show how little time and order actually mean for human beings, who are continually haunted by their past or propelled by their dreams for the future. One of the techniques that Almodovar uses to prevent the audience from becoming confused about the plot is by creating anchors and using repetition of elements -- a storytelling technique that mirrors the way the human consciousness actually does work. For example, Marco first meets Alicia at the start of the film, and Almodovar delivers us back to that point later. The same dance performance also repeats. Audiences will recognize this is the way the brain actually works; very... Almodovar also uses unique narrative devices, permitting insight into each character's point-of-view but especially those of Marco and Benigno. The audience learns at first that Marco and Benigno are united through their love of theater; and theater serves as a metaphor for the stage of life itself. The play-within-the-play trope is particularly effective here and almost becomes a frame narrative.

Personal Interpretation & Director's message

Gender roles and stereotypes are refreshingly nuanced in Habla con Ella. Right from the beginning, the audience is aware that Almodovar has transcended gender binaries and rigid stereotypes because Marco is passionate and emotional; he even allows himself to cry. Benigno also has no qualms about telling Alicia's father he is gay, which is ironic given that Benigno is actually in love with Alicia. Then, Almodovar develops the character of a female matador -- something that is almost unheard of, to the point where it is practically an oxymoron. A matador is ironically a role of intense masculine hegemony and the violence of patriarchy. Furthermore, both Marco and Benigno are devoted to the women they love, subverting stereotypes about male fidelity in relationships.

Almodovar has a gift for capturing the complexities of human relationships. Using his unconventional storytelling style, Almodovar shows how human relationships are the essence of life, which is why Benigno cannot imagine his life as it…