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This is the first « object », the starting point of the fantasy, as it were, but there is much more, and in the garden scene, at the reception attended by Roberto (Antonio Banderas) and his daughter Norma ( Blanca Suarez), through the eyes of Roberto, we witness several couples making love, no doubt as an introduction to what will then be presented as Norma's rape by Vicente (Jan Cornet).
That such rape didn't actually take place-for the young man was unable to « perform » because of the drugs he had taken-is irrelevant since what we see does look like a rape.
She's a good actress, whose sexuality Almodovar puts to memorably inventive use.
The Skin I Live In (La piel que habito) Directed by Éditions Gallimar, Thierry Jonquet, Agustín Almodóva, Pedro Almodóvar. Parent's guide: R (for disturbing violent content including sexual assault, strong sexuality, graphic nudity, drug use and language).
For me, in short, the title chosen by Almodovar was saying much more than it may have seemed at first and led me to questions not only related to appearance in front of the mirror or even to me as a subject, but to a problem on which I have been working for some years.
I think that this is a great movie to watch (not for everyone) if you like twists and dark motives. Unfortunately this does happen although not quite like this. Especially to people who have no family to speak of, so no one looks for them. This is a movie that will make you question your own ethics and the end it's spectacular like ant of Almodovar work. As usual Pedro Almodovar does not dissapoint in bringing untried ideas that makes his films unforgettable. UPI/David Silpa Antonio Banderas arrives at a photocall for the film "La Piel Que Habito (The Skin I Live In)" during the 64th annual Cannes International Film Festival in Cannes, France on May 19, 2011.The Spaniard went almost mainstream during the past decade, winning Oscars (for "Talk to Her") and Cannes awards (for "Volver") and becoming a granny-safe trip to the art house.Before this, in any case, we were given to watch a « real » rape, when Marilia's son (Maria Paredes), Zeca (Roberto Alamo), the obvious villain of the play, disguised as a tiger, raped the heroine.It doesn't take much psychoanalytic knowledge to see in these rapes and on the insistence on watching a representation of the classical « primal scene », a scene witnessed, imagined or reconstructed by the child and describing his or her parents in a love scene.