{"id":44064,"date":"2021-12-08T06:00:00","date_gmt":"2021-12-08T05:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=44064"},"modified":"2025-12-04T22:23:53","modified_gmt":"2025-12-04T21:23:53","slug":"madres-paralelas-desossement-de-la-passion","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/madres-paralelas-desossement-de-la-passion\/","title":{"rendered":"\u00abMadres paralelas\u00bb: boning up on passion"},"content":{"rendered":"\n<p><em>Les mercredis du cin\u00e9ma \u2013 <a href=\"https:\/\/leregardlibre.com\/tag\/alice-bruxelle\/\">Alice Bruxelle<\/a><\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\"><strong>Pedro Almod\u00f3var sort de son tombeau introspectif. Deux ans apr\u00e8s <em>Douleur et gloire<\/em> et un an apr\u00e8s son court-m\u00e9trage <em>La Voix humaine<\/em>, le cin\u00e9aste renoue avec ses th\u00e8mes de pr\u00e9dilection et son actrice f\u00e9tiche, Pen\u00e9lope Cruz. Une nouveaut\u00e9? Une trame historique relative au pass\u00e9 franquiste surplombant le m\u00e9lodrame.<\/strong><\/p>\n\n\n\n<!--more Lire la critique (en libre acc\u00e8s)-->\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Madres Paralelas - Bande-Annonce Officielle HD\" width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/fahQARfx6EM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Provocateur sans \u00eatre outrancier, Pedro Almod\u00f3var est une figure mythique du septi\u00e8me art. Ses longs-m\u00e9trages ont l\u2019audace d\u2019assumer une libert\u00e9 narrative fr\u00f4lant l\u2019anarchie. Mais <em>Madres paralelas<\/em> s\u2019embourbe dans des balbutiements laborieux o\u00f9 s\u2019entrecroisent v\u00e9rit\u00e9 historique et biologique, l\u2019une \u00e9tant li\u00e9e \u00e0 l\u2019autre et inversement. Se saisir dans un m\u00eame mouvement du l\u2019histoire collective de l\u2019Espagne et celle des deux protagonistes comporte le risque de s\u2019immobiliser \u00e0 l\u2019int\u00e9rieur des deux droites. Des droites parall\u00e8les et trop rigides qui&nbsp; d\u00e9rogent au pouvoir cathartique qu\u2019offrait autrefois les d\u00e9dales romanesques caract\u00e9ristiques de ses films.<\/p>\n\n\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Entre le manchego et le jambon ib\u00e9rique: les v\u00e9rit\u00e9s<\/strong><\/h3>\n\n\n\n<p>A la maternit\u00e9 de Madrid, le destin de Janis (Pen\u00e9lope Cruz) et Ana (Milena Smit) se scelle alors qu\u2019elles partagent c\u00f4te-\u00e0-c\u00f4te la douleur de leur accouchement. Un incident les unit: leurs deux <em>ni\u00f1as<\/em> ont \u00e9t\u00e9 \u00e9chang\u00e9es \u00e0 la naissance, mais cette v\u00e9rit\u00e9 ne sera d\u00e9couverte que par Janis. Point commun? Leur c\u00e9libat; la premi\u00e8re peut se payer le luxe d\u2019\u00e9lever son enfant seule; la seconde ne conna\u00eet pas l\u2019identit\u00e9 exacte du p\u00e8re, sa grossesse r\u00e9sultant d\u2019un viol. Janis est photographe de mode, Ana est encore mineure en prise avec des parents peu regardants sur le sort de leur fille. Commence alors un rapprochement amical, puis charnel alors que le silence de Janis sur la v\u00e9rit\u00e9 biologique sera plus en plus compliqu\u00e9 \u00e0 assumer.&nbsp;&nbsp;<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\"><input type=\"hidden\" name=\"key\" value=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBmNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5; padding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-main_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-size:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid #E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight: normal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block; background-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\"> <h4>NEWSLETTER DU REGARD LIBRE<\/h4> <span>Recevez nos articles chaque dimanche.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Votre inscription \u00e0 notre infolettre hebdomadaire a \u00e9t\u00e9 enregistr\u00e9e avec succ\u00e8s !<\/h4> <p> <a href=\"#\" class=\"inf-btn\">\u00ab<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta=\"1\" data-inf-error=\"Merci de renseigner une adresse email\" required=\"required\" placeholder=\"Email\"> <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"S\u2019inscrire\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>Un autre besoin de v\u00e9rit\u00e9 s\u2019ajoute au m\u00e9lodrame. Janis souhaite l\u2019excavation de la fosse commune du village o\u00f9 habitaient ses anc\u00eatres, victimes de la dictature franquiste. Elle demandera l\u2019aide d\u2019Arturo (Israel Elejalde), anthropologue judiciaire et p\u00e8re de son enfant.&nbsp;<\/p>\n\n\n\n\n\n<p>Micro- et macrohistoire s\u2019imbriquent, parfois se touchent. La Grande Histoire s\u2019immisce dans l\u2019intimit\u00e9 \u00e9troite des deux protagonistes d\u2019o\u00f9 resurgissent les th\u00e8mes (ou obsessions?) du cin\u00e9aste espagnol: la mort, le d\u00e9sir, la figure de la m\u00e8re. Quelques fulgurances almodovariennes r\u00e9veillent en nous la nostalgie de ses meilleurs films. L\u2019intensit\u00e9 de la douleur de l\u2019accouchement, au diapason des instruments guid\u00e9s par le compositeur Alberto Iglesias, r\u00e9sonne avec le plaisir \u00e9prouv\u00e9 lors de la rencontre charnelle au son de la voix de Janis Joplin, liant pass\u00e9 et pr\u00e9sent.&nbsp;<\/p>\n\n\n\n<p>Le recours habituel \u00e0 une palette chromatique intense \u00e9tait le ciment de l\u2019esth\u00e9tique et l\u2019\u00e9motion, rendant le cin\u00e9ma d\u2019Almod\u00f3var si atypique et si visuellement intense. La palette de <em>Madres paralelas <\/em>est plus limit\u00e9e et la mise en sc\u00e8ne&nbsp; se cantonne \u00e0 un registre artificiel. Cette impression est renforc\u00e9e par le diaporama de Janis montrant les photos des produits de luxe. Est-ce une vision m\u00e9taphorique du devenir (ou devenu?) du g\u00e9nie d\u2019Almod\u00f3var? Les quelques fulgurances clinquantes entre aper\u00e7ues sont-elles le restant des passions incarn\u00e9es dans les \u0153uvres pr\u00e9c\u00e9dentes?&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n\n\n<h3 class=\"wp-block-heading\"><strong>La mise en mots du politique<\/strong><\/h3>\n\n\n\n<p>M\u00eame si l\u2019intrigue atteint son climax de fa\u00e7on tr\u00e8s pr\u00e9visible, la relation entre les deux protagonistes peut \u00e9mouvoir. Le sel du cin\u00e9ma d\u2019Almod\u00f3var est de parvenir \u00e0 rendre attachants les personnages au caract\u00e8re d\u00e9testable en construisant un puzzle psychologique toujours tr\u00e8s complexe. C\u2019est ainsi que dans <em>Tout sur ma m\u00e8re<\/em>, le personnage d\u2019Huma, malgr\u00e9 son indiff\u00e9rence envers l\u2019int\u00e9r\u00eat d\u2019Esteban qui m\u00e8nera \u00e0 son accident mortel, \u00e9veille une compassion envers son destin de femme amoureuse. Ou encore le viol par Begnigno d\u2019Alicia dans <em>Parle avec elle<\/em> n\u2019est pas per\u00e7u comme un viol, mais comme une expression d\u2019amour \u00e0 travers une m\u00e9taphore exprim\u00e9e dans le court-m\u00e9trage imagin\u00e9 <em>L\u2019amant qui r\u00e9tr\u00e9cit<\/em> qui po\u00e9tise et distancie aux yeux des spectacteurs l\u2019acte tragique en train de se produire.<\/p>\n\n\n\n<p>Une des puissances artistiques d\u2019Almod\u00f3var est de cr\u00e9er dans chaque histoire et dans chaque personnage un espace de lib\u00e9ration pour vivre pleinement son destin de mani\u00e8re d\u00e9sordonn\u00e9e et cathartique. Mais <em>Madres paralelas <\/em>ne parvient pas \u00e0 atteindre cette apoth\u00e9ose. Fig\u00e9 par une mise en sc\u00e8ne trop lisse, le couple Janis et Ana para\u00eet coinc\u00e9 par la vitrine politique que le cin\u00e9aste ajoute en filigrane. Un amas de probl\u00e9matiques sont ainsi survol\u00e9s: viol, cyber-harc\u00e8lement, monoparentalit\u00e9, \u00e9mancipation. <em>We all should be feminist<\/em> est le slogan du t-shirt port\u00e9 ostentatoirement par Janis. Si la composante f\u00e9ministe est quasiment syst\u00e9matique dans sa filmographie, elle se manifeste principalement par les comportement intrins\u00e8ques des personnages tous mus par une volont\u00e9 d\u2019auto-d\u00e9termination.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"2560\" height=\"1707\" src=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled.jpg\" alt=\"\" class=\"wp-image-44071\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled.jpg 2560w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-1920x1280.jpg 1920w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-1170x780.jpg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-585x390.jpg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-263x175.jpg 263w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-300x200.jpg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-scaled-600x400.jpg 600w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-150x100.jpg 150w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-768x512.jpg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-1024x683.jpg 1024w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-1536x1024.jpg 1536w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/12\/Madres-paralelas_1-\u00a9-El-Deseo-2048x1366.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption><meta charset=\"utf-8\">\u00a9 El Deseo<\/figcaption><\/figure>\n\n\n\n<p>Cette explicitation politique par le m\u00e9dium des mots au d\u00e9triment d\u2019une libert\u00e9 accord\u00e9e \u00e0 ses personnages r\u00e9sonne avec le drame historique des fosses communes. Almod\u00f3var confiait en 1994 \u00e0 Fr\u00e9d\u00e9ric Strauss: \u00ab[\u2026] mes films n\u2019ont jamais \u00e9t\u00e9 anti-franquistes car je n\u2019y reconnais tout simplement pas l\u2019existence de Franco. C\u2019est un peu ma vengeance contre le franquisme: je veux qu\u2019il n\u2019en reste ni le souvenir, ni l\u2019ombre\u00bb. M\u00eame si le franquisme \u00e9tait \u00e9voqu\u00e9 succinctement dans <em>En chair et en os<\/em> dans la premi\u00e8re s\u00e9quence, ce revirement de position questionne.&nbsp;<\/p>\n\n\n\n<p>Grand conteur d\u2019histoires, le cin\u00e9aste s\u2019improvise avec <em>Madres paralelas <\/em>conteur de l\u2019Histoire. Le sel de son cin\u00e9ma se fige en statues ou en squelettes, ceux d\u00e9terr\u00e9s de la fosse commune.&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p><em>Ecrire \u00e0 l\u2019auteure:&nbsp;<a href=\"mailto:alice.bruxelle@leregardlibre.com\">alice.bruxelle@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<p>Image d\u2019en-t\u00eate: \u00a9 El Deseo<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Les mercredis du cin\u00e9ma \u2013 Alice Bruxelle Pedro Almod\u00f3var sort de son tombeau introspectif. Deux ans apr\u00e8s Douleur et gloire&#8230;<\/p>","protected":false},"author":332,"featured_media":44072,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[67793,644357106,422108,33752],"class_list":["post-44064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-feminisme","tag-madres-paralelas","tag-pedro-almodovar","tag-penelope-cruz"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>\u00abMadres paralelas\u00bb: d\u00e9sossement de la passion<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leregardlibre.com\/en\/cinema\/films\/madres-paralelas-desossement-de-la-passion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abMadres paralelas\u00bb: d\u00e9sossement de la passion\" \/>\n<meta property=\"og:description\" content=\"Les mercredis du cin\u00e9ma \u2013 Alice Bruxelle Pedro Almod\u00f3var sort de son tombeau introspectif. 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