Julieta

**Summary: 8/10: a devastating, exquisitely controlled study of how grief can sever even the deepest bonds, anchored by two extraordinary performances and Almodóvar's rare gift for making every element of a film disappear into the whole.**



Grief has a way of finding the fault line already running through a relationship and splitting it wide open, and Pedro Almodóvar's *Julieta* is one of the most exact studies of that process in narrative film. This isn't grief as a particular wound; it's rather a slow, silent estrangement between a mother and a daughter, each one unable to reach the other precisely because each is drowning in the same loss from a different angle.

What the film understands, and what I suspect younger viewers may not yet be equipped to comprehend, is that traumatic grief doesn't always draw people together. Sometimes it corrodes the very bond it should be strengthening. Antía, we come to learn, cannot fully appreciate what her mother went through, or what their relationship meant, until much later in her own life. That's not a flaw in the character; it's the film's whole insight about grief and maturity, that some kinds of understanding are simply unavailable to us until we've lived long enough to need them.

I want to mention a small discovery, since it may be my first time catching a genuine Easter egg in an Almodóvar film. While Julieta is packing, the camera dips down to a box holding a record, its cover clearly visible: an album by Ryuichi Sakamoto, the celebrated Japanese composer, whose music Julieta is listening to in that moment. The same album reappears later when she unpacks. It's a lovely small touch precisely because it's out of house style; Almodóvar has scored nearly every film of his career with Alberto Iglesias and only one with Sakamoto, so a needle-drop credit to him stands out as a deliberate, specific choice. It says something about the care Almodóvar puts into even the objects passing through frame for two seconds, and it rewards anyone paying close enough attention to notice.

The direction is, as ever with this director, extraordinary. Almodóvar's signature lush color palettes are present but pulled inward here, more subdued, darker, weighted toward reds, blues, and deep olives, a palette that mourns rather than celebrates, and it suits this film's interior sadness perfectly. What continues to astonish me about his filmmaking is the total harmony he achieves between every element, color, camera, performance, script, music. Nothing dominates. Nothing calls attention to itself as the "best part." It functions like a magic trick where you can watch it happen twice and still not locate the seam.

The performances anchor all of it. Emma Suárez and Adriana Ugarte play Julieta at two different ages, and both are extraordinary in ways that never feel like acting, only like living. The handoff between them, the way the same woman's grief looks entirely different at twenty years' distance, is one of the film's quietest triumphs, and neither actress overplays a single moment of it.