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Almodóvar’s tone is not like anyone else’s; the film has the exaggerated plot of an absurdist Hollywood romance, and even when it loses its beat (after a murder) there’s always something happening. This director manages to joke about the self-dramatizing that can go on at the movies, and at the same time reactivate it. The film is festive. It doesn’t disguise its narcissism; it turns it into bright-colored tragicomedy.

– Pauline Kael, The New Yorker

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