Pedro Almodóvar’s cinematic universe is a kaleidoscope of vibrant prints, saturated color palettes, and mid-century modern design, creating a visually distinct and unmistakable aesthetic. His work, spanning 50 years and 23 feature films, has earned him two Oscars and cemented his position as a master of Spanish cinema. However, it’s his maximalist visual style that truly elevates his work, making it a cultural mainstay. Almodóvar achieves this through eclectic sets, exquisite cinematography, and bold, playful costuming.
This year, Almodóvar returns with a highly anticipated new release, ‘The Room Next Door,’ a lyrical drama starring Tilda Swinton and Julianne Moore as lifelong friends reunited after years apart. Ahead of its world premiere at the Venice Film Festival, let’s delve into Almodóvar’s career through nine of his most stylish films.
Women on the Verge of a Nervous Breakdown (1988)
This mile-a-minute madcap comedy, Almodóvar’s first mainstream hit, follows a heartbroken TV actress on a quest to discover why her lover abandoned her. The surreal script and larger-than-life characters are mirrored in the delightfully kitsch costumes: bedazzled denim jackets, candy-colored skirt suits, polka dot blouses paired with headbands and towering bouffants. Don’t miss the jewelry, including earrings shaped like miniature espresso pots, adding a touch of whimsy.
All About My Mother (1999)
This groundbreaking drama, earning Almodóvar an Oscar for Best Foreign Language Film, explores themes of parenthood, trans identity, and the AIDS epidemic. The story follows a nurse traveling to Barcelona after her son’s death, hoping to find his father. Instead, she encounters an eccentric cast of characters: sex workers, hustlers, movie stars, and a pregnant nun, played with brilliance by a young Penélope Cruz. Their wardrobes are stylish and punctuated with cherry-red accents, from Cruz’s headscarves to Cecilia Roth’s eye-catching coat.
Talk to Her (2002)
In this film, two women – one a matador gored during a bullfight and the other a ballerina hit by a car – fall into comas and become objects of desire for two men. While the art direction is more subdued compared to the Pop Art exuberance of ‘High Heels’ or ‘Kika,’ the costumes are still ravishing. Geraldine Chaplin shines as an elegant dance teacher, in crisp white shirts and impeccably tailored jackets.
Volver (2006)
Drawing inspiration from Spanish soap operas and a pre-Hollywood Sophia Loren, ‘Volver’ brims with sensuality. A riot of color and print saturates every frame, with Penélope Cruz’s explosive performance as Raimunda, a working-class woman protecting her daughter, taking center stage. Costume designer Bina Daigeler’s meticulous attention to detail is evident in Cruz’s patterned pencil skirts, floral tops, plunging gingham cardigans, all accented with gold hoops and a locket featuring a tiny rendering of the crucified Christ.
Broken Embraces (2009)
This thriller showcases some of Almodóvar’s most striking costumes, setting the scene for a tense, Hitchcock-esque romance. Penélope Cruz portrays an aspiring actress caught between a jealous financier and a passionate affair with a director. When she chooses the latter, their escape to Lanzarote sees her sculpted dresses replaced by floaty skirts and wide-brimmed straw hats.
Julieta (2016)
Adapted from Alice Munro’s short stories, ‘Julieta’ is a poignant portrait of a mother’s estrangement from her child. We meet the titular heroine in Madrid, where a chance encounter brings news of her daughter’s whereabouts. Consumed by guilt, grief, and hope for reconciliation, she seeks to reconnect. Hallucinatory flashbacks to Julieta’s youth are filled with 1980s references (power shoulders, clip-on earrings), but their modern-day ensembles are more sophisticated. Julieta favors vintage Céline and Hermès, while Beatriz is a vision in head-to-toe Dior.
Pain and Glory (2019)
In this deeply personal project, a brooding filmmaker reminisces about his childhood, confronts his emotional scars, and faces his own failings. Antonio Banderas delivers a ruminative and melancholic performance, but his wardrobe remains unapologetically flamboyant. He sports bright leather jackets, jewel-toned suits, and printed shirts, some even sourced from Almodóvar’s own closet.
The Human Voice (2020)
This carefully crafted short film, marking Almodóvar’s English-language debut, is big on atmosphere. It’s a freewheeling adaptation of Jean Cocteau’s play about a woman on the phone with her former lover, starring Tilda Swinton. As she speaks, grows distressed, and wanders through her apartment, an oasis of primary colors, Surrealist art, and plush furnishings, her outfits command attention. From blood-red Balenciaga gowns and knits to a showstopper by Dries Van Noten, they are simply spectacular.
Parallel Mothers (2021)
This operatic family drama centers on a trio of conflicted mothers, brought to life by Penélope Cruz, Aitana Sánchez-Gijón, and Milena Smit. Questions arise about their children’s parentage and their personal ambitions, with difficult conversations unfolding in sun-dappled courtyards and meticulously decorated homes. Their clothing is equally striking: Smit is louche in faded jeans and Miu Miu jackets, and Cruz radiates glamour in ribbed dresses and cozy cardigans, not to mention the Dior “we should all be feminists” T-shirt she casually wears while cooking.
