If you haven't yet seen Almodóvar's 1991 film, prepare to be shocked. High Heels is an important piece of work, in many ways the cornerstone for the director's artistic career: many of its thoughts continue into his films made over the next quarter of a century. The portrayal of the mother-daughter relationship is unquestionably a fundamental Almodóvar trait. If you connect the women in Volver or Julieta with the ladies in High Heels, you're not mistaken. The familiar moral dilemmas that we now see as the hallmark of Almodóvar are also present: the sinner without sin, the transformation of the sinner, bizarre penitence. But deceit also makes an appearance, while form changing, disguise, transvestitism and complete body transformation are all virtually inseparable from the director's later films. And don't forget his world of references from television, media and advertising! We can also speak about the love rivalries and those complicated love polygons that are by now strongly pushing the boundaries of two dimensions, increasingly resembling larger spatial, polyhedral shapes.
And what about time? Which often brings out a person's true colours over the course of their life. Then there is waiting time, the essence of which is the coming, the possible coming, and the who-knows-when-they-will-come events. And how do we cope with forgetting in time? What is it that drifts away over time? And what is it that we carry seriously, to the end of our lives? And the time that marks us, the slap in the face that you get when browsing through old pictures. It's complicated, damn it! And sitting in the cinema, you will able to experience it more deeply than by merely reading these lines.

The screening takes place in cooperation with the Spanish Embassy in Budapest.

Presented by: Müpa Budapest