BROKEN EMBRACES by Pedro Almodovar with Penelope Cruz, trailer, reviews, photos

Penelope Cruz stars in 'Broken Embraces' (original title: Los Aabrazos Rotos), the latest film from Spanish maestro, Pedro Almodovar, The Spanish helmer's biggest-budgeted and longest movie to date got warm hugs from Spanish auds on release from March 18, headed for Cannes in May, it goes out worldwide via Sony Pictures Classics later this year.

Almodovar described  his 17th film and with the highest budget yet of 11 million euros as 'the story of my love for the cinema'. Broken Embraces marks the fourth collaboration between Almodovar and Cruz, who last month won the Oscar for best supporting actress in a role as an eccentric Spanish painter in Woody Allen's 'Vicky, Cristina, Barcelona'. Cruz was effusive in her praise of Almodovar: 'I've been obsessed with his films since I was a youngster' she said, adding that if she were told she could only work with one director for the rest of her life it would be 'without doubt' Almodovar.

Review: Nick Funnell, Time Out London, http://www.timeout.com

It’s a tribute to Almodóvar’s careful scripting and the skills of Cruz and the rest of the cast that this intricate fusion of disparate elements hangs together as well as it does. It’s easy to forgive its improbabilities and misfires and just succumb to its artful flow of constantly resonating moments, which sends the brain ping-ponging in all directions.

But despite all the passion and tragedy, it doesn’t resonate like a ‘Talk to Her’ or a ‘Volver’. The title, for instance, connects to a cluster of dovetailing images and ideas – a ripped-up photo of Lena and Mateo, a scene from Rossellini’s ‘Voyage to Italy’, a couple embracing on the black volcanic sands of Lanzarote, Lena’s tragic fate – but they never coalesce.

But for all its darkness and tragedy, it’s an optimistic film at heart: despite his afflictions Mateo/Harry continues his work and embraces life. One of the most moving scenes shows him answering to his Harry Caine identity for the first time on a beach surrounded by kites, surfers, children, lovers, dogs, life. There’s plenty of comedy here too, not least from Lola Dueñas’s (‘Volver’) lip-reader, who, hired when the making-of’s sound fails, reproduces Lena’s speech in monotone for Ernesto.

The sense is of an ageing director taking stock: exploring his cinematic roots, imagining his future and working through it all to emerge counting his blessings at the end. It’s something reflected in the way those trademark Almodóvar bright colours come leaping out from the shadowy backgrounds in Rodrigo Prieto’s exquisite cinematography. ‘Broken Embraces’ is indeed a film where joy comes lurching out of the darkness to steel you, lift you, to make you realise that no matter how bad things get, there’s always something to enjoy. There’s always cinema.

Cruz delivers a compelling, subtle perf as a woman continually aware that the shadow of tragedy hovers over her. But because her character is effectively split into three -- Magdalena the grieving daughter, Lena the actress and lover, and Pina in "Girls and Suitcases" -- auds will struggle to locate an emotional center behind the thesp's dizzying range of costumes and wigs.

Homar, who literally wears Almodovar's own '90s wardrobe, makes a commanding screen presence as Caine/Blanco, but the character's reactions to his multiple tragedies (including being blinded) seem stoical to the point of catatonia. Gomez and Portillo are solid in theslightly smaller roles of Martel and Judit, respectively. Multiple cameos -- including one by the helmer's producer brother, Agustin -- are enjoyable, though none help move the story forward.

Visually, the pic is an exquisite treat. Every richly hued wall is covered with eye-candy artwork, every doorway reps a second level of framing, and there is beauty even in the scattered contents of a drawer or in a pile of torn-up photos. Closeups are regularly used, particularly of Cruz's hypnotically photogenic features.