Pedro Almodóvar's fans, assuming the existence of these, should be delighted to find out that this early (1982) effort is a virtual seed-packet of ideas that sprouted up in his later and wider-circulated efforts. (Exhibit A: it would appear to be here, and not in Law of Desire, that Almodóvar first lifted some music from Resnais's Providence.) His fans should not be so delighted, however, to find that this one is even more inchoate and immature than those others. (Exhibit B: shot of the floor as one woman loses control of her bowels outside the door to the W.C.) Or maybe it's only his non-fans who won't be delighted by that. Cecilia Roth, Imanol Arias, Antonio Banderas. (1982) — Duncan Shepherd
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