After his first three films, Pedro Almodóvar was labelled the enfant terrible of cinema and a specialist in scandalising his viewers. Such a view is understandable. His films featured drugs, sexual diversity, violence, revenge and anti-clericalism, all somewhat tactlessly delivered. And they were considered cult films by the Spanish mainstream. His fourth film, Matador, went somewhat beyond that. Though well-intentioned critics and aesthetics happily classify this as a melodramatic, surreal, naturalistic and even romantic film, let's not beat about the bush: we're talking about an erotic thriller - with mystical touches.
By now, this is the craftsmanship and artistic talent of Almodóvar, building these little dramas into a lewd history of guilt. The mothers who lose their children's lives, the crime of assuming sin, the man who desires to submit to the woman, to be treated as a puppet. The media that has no interest in the truth, the cinematic references, the suits, the make-up, the incredibly precise and knowing use of a particular hairstyle, the interiors that tell us so much, the objects that push the boundaries toward fetishism. The ephemeral and non-ephemeral scars, the imperfections of the body. The ethical quandaries, referencing the moral philosophers of the 18th century. And, naturally, there is blood, which plays a starring role in the drama of the Matador. Actually, blood plays many roles, since the murderer spills blood, as does the matador - because of his profession - with the film also featuring a bit of vampirism and other mystical elements. To put it another way, it is stirring and hard to forget. Something that will not change over time.

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

Presented by: Müpa Budapest