of what will transpire between two women who meet in the maternity ward. But that emotional twist is just one of the film’s plot points.to the picture: a real-life campaign by citizens, such as Cruz’s character Janis, to excavate the unmarked graves of tens of thousands of people killed under the brutal regime of Francisco Franco decades before.
Despite their long working relationship, Almodóvar says the two don’t necessarily have a shorthand. Essentially, he believes he gives her more direction than any actor he consistently works with. Then again, that’s likely because Cruz wants a lot more information than many of her peers. “I said, ‘No, Penélope, you cannot cry. The guiltiness [of the character] is a kind of feeling that drains your tears,’” Almodóvar says. “My work as a director, it was basically just to experiment with her to keep the emotions in continuous contradiction. I knew since the beginning that it was very difficult, so we rehearsed a lot.
Instead, Fernando León de Aranoa’s “The Good Boss,” starring Cruz’s husband, Javier Bardem, was selected. Almost 20 years ago, another acclaimed Almodóvar film, “Talk to Her,” was passed over by the Spanish academy. That year, they chose, yes, a film directed by Aranoa also starring Bardem, “Mondays in the Sun.” Nonetheless, Oscar voters honored “Talk to Her” with directing and original screenplay nominations, with Almodóvar winning the latter category.
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