Although I’ve seen a fair few Almodovar films, you can never get enough. The king of macabre comedy, one relishes on the twisted realities that plop out of his brain and onto our screens.
Matador focuses on three characters, an ex-bullfighter, high-profile lawyer and a pious teenager, all combined in a tripartite relationship and a common interest unbridled passion and mortality.
It’s a bit of a rough gem, is ol’ Matador. The opening thirty minutes is exhilarating and exasperating in equal measure: we get an unsuccessful rape attempt, erotic asphyxiation and bloody violence, all doused in genuine laughs aplenty, of course! As the film progresses the rock hard exterior diminishes and we’re left with a bit of a wet blanket ending.
With it’s cooly calm style, one could argue that Matador glamorises masochism. However, Almodovar uses ultra violence as an allegory to the constraints and oppression of religion, with the bull as the alluring serpent and Banderas’ aptly named Angel representing an unadulterated virtue.
Reasonably good, filthy fun for all the family. Or not.