Leave it to Pedro Almodóvar to slap a fresh coat of Technicolor enamel on that most reviled made-for-TV variant: the switched-at-birth melodrama. Two mothers, two accidents, and numerous unexpected twists come to a boil in this, the filmmaker’s definitive statement on motherhood, melodrama, and the unhealthy allegiance that’s formed when shuffled and dealt from the crazed mind of Almodóvar. And he does so with the greatest of stylistic ease. Responding to something as seemingly innocuous as a knock on the door whisks us into the past. And don't expect any of that “One Year Earlier” nonsense when a change of costume and hair will do for an indicator. You know you’re in good hands when along the way, every question that arose — and there are many to be found within the labyrinthian narrative — was answered the moment after it came to mind. Penelope Cruz reciprocates by gifting her frequent directorial collaborator with a performance that’s equal parts warmth, depth, and nervous breakdown required in these parts. A white Shinola bob adds elfin charm to Milena Smit. She co-stars as Cruz’s maternity ward bunkmate-turned-lover, and mother of Cruz’s dead daughter. I warned you about the unwholesomeness. Not to be missed! (2021) — Scott Marks
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