Critical Response - Research Paper Example

This fresh replica of 'mothering' might be assumed by everyone, not only by women; hence, Todo Sobre Mi Madre/All About My Mother demonstrates an 'ethics of care', to remind people that compassionate concern is generally a human need, advocating for a universal human response (Garlinger 100). This paper will give a three page response to the film with regard to some of the cinematic aspects discussed in class for instance the use of sound, color, performance and genre, but mainly discuss the cultural differences that may be found in an engagement with the content of the film.

The film talks about complex issues that are affecting our society such as AIDS, transvestitism, homosexuality, existentialism and faith (Garlinger 100). Pedro Almodovar's work has been despised as misogynous, as well as celebrated as a feminist film. In essence, this schizophrenia might be because of critics' tendency to center selectively on specific works. Almodovar's movie also seems to connect directly with current debates in feminist and gender theory, sometimes in unsure fashion (Martin-Marquez 498). . y, the legal representative, Maria Cardenal, takes on the case of a disturbed young man, Antonio Banderas, who acts as Angel, who has turned himself in to the police for serial murder and rape.

As one of his likely rape victims watched the news, a female anchor reported that Angel is in police custody, and that Maria Cardenal, a woman, had taken on his case. One, as expected during that time, would wonder why a woman has chosen to defend a man who made their lives hard for them. As expected, numerous prominent feminists were annoyed that their fellow woman opted to defend such a monster (Martin-Marquez 502). Miss Cardenal provoked people by stating that, according to the law, every citizen (Spanish) has the right to а lawyer, reveling in a truthfully frightening sarcasm.

However, Maria can be perceived as the most feminist person in Almodovar's oeuvre. Maddison (267) proposes that, as a serial murderer herself, who opted for male victims entirely, Maria inflicts on men what she considers to be the greater law of a very radical type of feminist justice with regard to women's history of oppression. The tone of the film has the heart-on-the-sleeve emotions of soap operas; however, it is entirely truthful and, by no means, camp (See 60). Contained in this vital judgment of Almodovar’s turn emotion is the equation of insincerity with camp.

If the film captures the attention of someone, it is apparently because they were overwhelmed with the happenings of the film. The vital consensus appears to be that the producer has matured profoundly as a filmmaker. This is because it seems as if he was surpassed in early days of camp frivolity, but matured enough to grant emotional gravities in his film (Garlinger 109). This movie shows that the producer went through some form of