Almodovar's 'Volver' reminded of KM's famous declaration of her artistic intention

Watching Almodovar’s wonderful new film, ‘Volver’ I was reminded of KM’s famous declaration of her artistic intention. Almodovar like Mansfield and many others explores the healing possibilities of the ‘come back’ or the ‘return’. The opportunity for another chance, another encounter with the past is precisely the ‘country’ of Almodvar’s La Mancha and the New Zealand of KM’s early life. Almodovar compassionately allows for second chances in a way that Thomas Hardy for example, could never allow.

The gorgeous competence of Penelope Cruz‘s protagonist operates like the character of  Kezia in KM’s New Zealand tales, as a site for compassion and tolerance.

‘Home’ seems as much a place within the psyche of the individual as any space without, and contrastingly KM’s world of failing, lonely  maternity, is redeemed in Almodovar’s ‘Volver’ where everyone can return to some maternal space of nurture; even ugly, abusive transgression gets to be forgiven..

This healing is of course due in part to the recurring symbolism of one of Almodovar’s lingering cinematic fixations: Cruz‘s more than ample cleavage which operates as a place of maternal safety as much as desire. (Am sure KM would, in her own inimitable way, have approved!)

‘Volver’ like KM’s NZ stories explores the fluid relationship between mortality and (re) birth; a renewal that is probably the best gift and best ‘Volver’ of them all.