Pedro Almodóvar

Pills, vacuum cleaners, and a marriage-as-prison. This explosive anti-melodrama about female exhaustion fuses social satire with irreverent slapstick in one of the most inventive moments of Almodóvar’s early period. — Gloria, a Spanish cleaning woman living a chaotic life, shares a cramped apartment with her grumpy husband Antonio, their two trouble-prone sons, and her ruthless mother-in-law. With little emotional support, Gloria is pushed to her limits when an argument with her husband leads to a macabre turn of events. As she struggles to deal with the consequences, a series of eccentric characters enter the scene, amplifying the madness.

After his English-language detour with "The Room Next Door", Pedro Almodóvar, one of the most beloved directors among Greek audiences, returns to his homeland with a deeply personal, semi-autobiographical work that revisits the bittersweet interplay between cinema and life. — Director of commercials Elsa is on the verge of a nervous breakdown. By her side is her partner, Bonifacio, who works as both a firefighter and a stripper. Plagued by doubts about their relationship and attempting to write a screenplay, she leaves Madrid for a while and escapes to an island with her close friend Patricia. At the same time, renowned filmmaker Raúl Rossetti finds himself grappling with similar challenges in his own life. — Official Selection | Cannes Film Festival | 2026

In the most political movie of his career, Almodóvar brings together personal and historical memory, placing women at the heart of both and moves audiences with remarkable ease. All this comes wrapped in a beautifully written melodrama that, as is often the case with his work, also serves as a tribute to motherhood and the female experience. — Two women, Janis and Ana, give birth on the same day in the same hospital. They remain in touch for a while before losing contact. Years later Janis uncovers a devastating secret that she keeps hidden from everyone. A chance reunion with Ana intertwines their lives once again. — Nominated for Best Performance by an Actress in a Leading Role (Penélope Cruz) | Oscars | 2022 Nominated for Best Original Score | Oscars | 2022 Best Actress (Penélope Cruz) | Venice Film Festival | 2021 Nominated for Queer Lion Award | Venice Film Festival | 2021 Nominated for Best Film Not in the English Language | BAFTA | 2022 Nominated for Best Foreign Language Film | Golden Globes | 2022 Nominated for Best Original Score | Golden Globes | 2022 International Star Award | Palm Springs IFF | 2022

Antonio Banderas delivers the performance of his career as the director's on-screen alter ego and Pedro Almodóvar offers his own take on Fellini's 8½ in a deeply moving film about the memories of youth, the melancholy of old age, the fear of death and the "pain and glory" of artistic creation. Put simply, he made his masterpiece. — A middle-aged filmmaker suffering from chronic back pain and migraines revisits the memories of his "glorious" past, reflects on the mistakes and defining moments that shaped him and redefines his relationship with both art and life. — Nominated for Best Performance by an Actor in a Leading Role (Antonio Banderas) | Oscars | 2020 Nominated for Best International Feature Film | Oscars | 2020 Best Actor (Antonio Banderas) | Cannes Film Festival | 2019 Best Composer | Cannes Film Festival | 2019 Nominated for Best Film Not in the English Language | BAFTA | 2020 Nominated for Best Foreign Language Film | Golden Globes | 2020 Official Selection | San Sebastian International Film Festival | 2019 Best Film | Goya Awards | 2020 Best Lead Actor (Antonio Banderas) | Goya Awards | 2020 Best Director | Goya Awards | 2020

A blind screenwriter is drawn back to the love that wrecked him and the film he was writing then, in a melodrama-thriller from Pedro Almodóvar at the top of his game. Almodóvar nods to his own “Women on the Verge of a Nervous Breakdown”, and Penélope Cruz plays a kept woman who knows her worth. — A blind screenwriter in present-day Madrid writes under the name Harry Caine and never tells anyone how he lost his sight. Then a stranger turns up with questions about Lena, the actress who starred in his last film, and about the very rich man who paid for that film back then. — Official Selection | Cannes Film Festival | 2009 Nominated for Best Foreign Language Film | Golden Globes | 2010 Nominated for Best Film Not in the English Language | BAFTA Awards | 2010

A mother and daughter are pushed to the limit, to music by Ryuichi Sakamoto, when the only man they both loved is killed and the trial becomes the first place they’re ever honest with each other. Almodóvar turns the courtroom into a confessional. — Becky left her daughter in Madrid fifteen years ago to sing abroad, and now she’s coming back to a Rebeca who has grown up and, in the meantime, married one of her mother’s old lovers. When he is killed, the police have exactly two suspects. — Nominated for Best Foreign Language Film | Golden Globes | 1992

Almodóvar heads for the convent, where a singer hides out after her lover dies and finds that one sister takes LSD, another writes trashy novels under a pen name and a third keeps a tiger. Every one of them wants somewhere to belong. — A singer needs to vanish after her lover dies of an overdose, so she picks a convent whose order exists to take in fallen women. The trouble is that the sisters have fallen rather low themselves, and the Mother Superior can’t hide how delighted she is to have her.

A TV reporter with a camera strapped to her head and a Jean Paul Gaultier outfit shares the story with a naive make-up artist, a peeping photographer and a killer, and sooner or later everything private ends up on air. It may be Almodóvar’s most extreme film, and he isn’t asking anyone’s approval. — Kika does make-up for a living and believes in every face she works on. Her boyfriend is a photographer who likes to watch people, and his stepfather, an American writer, lives under the same roof. Meanwhile a TV reporter hosts a show about the worst things that can happen to a person, and she needs a new one by tomorrow. — Best Lead Actress (Verónica Forqué) | Goya Awards | 1994

Bright, explosive and tender, Almodóvar’s Oscar winner is dedicated to Bette Davis, Gena Rowlands, Romy Schneider and his own mother. A woman who has lost her son sets out to find the boy’s father, and on the way she finds friends in women who won’t let her fall. — Esteban dies on his seventeenth birthday, struck by a car in Madrid as he runs to get an actress’s autograph. His mother, Manuela, walks away from everything and heads to Barcelona in search of the boy’s father, whom Esteban never met. The man has never heard that he had a son. — Best International Film | Oscars | 2000 Best Director | Cannes Film Festival | 1999 FIPRESCI Prize | San Sebastian Film Festival | 1999 Best European Film | European Film Awards | 2000 Best Director | BAFTA | 2000

Antonio Banderas ties Victoria Abril to a bed and waits for her to fall in love with him. To Almodóvar this is a black romantic comedy, and the Spanish master made it loud, explosive and every bit as controversial as it sounds. — Ricky walks out of a psychiatric hospital knowing exactly what he wants, which is to marry Marina, a porn actress he once spent a night with, and to have children with her. Marina, unfortunately, doesn’t remember him. So Ricky breaks into her flat and ties her to the bed. — Official Selection | Berlin Film Festival | 1990

A director opens a script from an old school friend and finds his own childhood in it: the Catholic boarding school, the priest who ran the choir. He should stop reading, but he can’t. Gael García Bernal plays a role modelled on Alain Delon’s Ripley in what may be Almodóvar’s most personal film. — The director Enrique Goded is short of a subject for his next film in 1980 Madrid when a man walks into his office, leaves a script and says he’s the boy Enrique was in love with at school. The pages are about the two of them, their Catholic boarding school and their priest, and Enrique begins to read. — Nominated for Best Film Not in the English Language | BAFTA Awards | 2005 Nominated for Best European Director | European Film Awards | 2004 Nominated for Best European Screenwriter | European Film Awards | 2004

Almodóvar started his own production company to make sure this film was his alone. A man’s fling with a lover played by Antonio Banderas, who takes it as a promise and tries to get to him through his sister, turns into a dark triangle of violence and obsession that never once hits the brakes. — Pablo, a director, is getting over a lover who has just left town when he starts a brief affair with Antonio, who takes it far more seriously than he does. Pablo’s sister, Tina, is an actress with a past, and Antonio’s obsession is slowly turning dangerous. — Teddy Award for Best Feature Film | Berlin Film Festival | 1987

Almodóvar turns darker here, opening in a Madrid under a state of emergency with a woman giving birth on a bus. From that moment chance ties five people together, and two of them are played by a young Penélope Cruz and Javier Bardem. — On a bus in Madrid at Christmas 1970, with the city under a state of emergency, a young prostitute gives birth to Víctor. Twenty years later he goes looking for Elena, a girl he once spent the night with, and he’s in her flat when two policemen walk in. One of them will leave in a wheelchair. — Nominated for Best Film Not in the English Language | BAFTA Awards | 1999 Nominated for Best Foreign Independent Film | British Independent Film Awards | 1998

Marisa Paredes plays a romance writer contracted to turn out five happy endings a year, which gets harder once her husband stops calling from Brussels and the happy endings refuse to come. One scene here became the seed of “All About My Mother”. — Under a pen name, Leo writes the bestselling romances her contract demands, five a year and every one with a happy ending. But her husband has gone to Brussels and stopped calling, and everything she writes now comes out dark and sad, which her publishers won’t go near. — Best Actress (Marisa Paredes) | Karlovy Vary International Film Festival | 1996