Broken Embraces
A man writes, lives and loves in darkness. Fourteen years before, he was in a brutal car crash on the island of Lanzarote. In the accident, he not only lost his sight, he also lost Lena, the love of his life. This man uses two names: Harry Caine, a playful pseudonym with which he signs his literary works, stories and scripts, and Mateo Blanco, his real name, with which he lives and signs the film he directs. After the accident, Mateo Blanco reduces himself to his pseudonym, Harry Caine. If he can’t direct films he can only survive with the idea that Mateo Blanco died on Lanzarote with his beloved Lena. In the present day, Harry Caine lives thanks to the scripts he writes and to the help he gets from his faithful former production manager, Judit García, and from Diego, her son, his secretary, typist and guide. Since he decided to live and tell stories, Harry is an active, attractive blind man who has developed all his other senses in order to enjoy life, on a basis of irony and self-induced amnesia. He has erased from his biography any trace of his first identity, Mateo Blanco. One night Diego has an accident and Harry takes care of him (his mother, Judit, is out of Madrid and they decide not to tell her anything so as not to alarm her). During the first nights of his convalescence, Diego asks him about the time when he answered to the name of Mateo Blanco, after a moment of astonishment Harry can’t refuse and he tells Diego what happened fourteen years before with the idea of entertaining him, just as a father tells his little child a story so that he’ll fall asleep. The story of Mateo, Lena, Judit and Ernesto Martel is a story of “amour fou”, dominated by fatality, jealously, the abuse of power, treachery and a guilt complex. A moving and terrible story, the most expressive image of which is the photo of two lovers embracing, torn into a thousand pieces. (Source)
Set in the 1990s and present day, centers on a four-way tale of dangerous love, shot in the style of a hard-boiled 1950s American film noir. (Source)
A follow-up to Spanish enfant terrible Pedro Almodóvar's 2006 arthouse sensation Volver, Los Abrazos Rotos finds the filmmaker re-teaming with actress Penélope Cruz and working on a canvas much broader than those of his previous outings, in terms of genres covered, narrative scope, and duration. Lluís Homar stars as the former Mateo Blanco, a screenwriter and ex-director who changed his name to Harry Caine after losing his sight in an automobile accident. A past scandal suddenly resurfaces when the news arrives that the producer of one of Harry's old movies ("Girls and Suitcases"), a corrupt stockbroker named Ernesto Martel (José Luis Gómez), has died. For mysterious reasons, this makes Harry's ex-production manager Judit (Blanca Portillo) nervous; then Ernesto's son, Ray X (Rubén Ochandiano), turns up and asks Harry to help him write a vindictive script to get back at his vile father. The film subsequently flashes back to the early '90s, when Martel became involved with his secretary, Lena (Cruz), but Mateo also began to develop feelings for her, and auditioned her for "Girls and Suitcases." In response to Mateo's interest in Lena (and her burgeoning interest in him), the jealous Martel commissioned Ray to make a documentary about the making of "Girls and Suitcases" as an excuse to spy on the director and star. This enabled him to watch Mateo spiriting off with Lena right under his nose, and set the stage for the wily producer's elaborate revenge against Mateo. As this synopsis suggests, Almodóvar uses a tricky structure laden with flashbacks to both comment on and explain the events of the present; he also interweaves a noirish sensibility throughout the picture that marks something of a first for this director. - Nathan Southern, All Movie Guide (Source)
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