Hable con ella possess the type of discomfort that Buñuel brought to the cinema. Rape, sexual fantasy, obsession. Voyeurism that feels very much intended to make the audience uncomfortable. The them of female entrapment that is frequently present in postmodern film can definitely be found here: the two women at the center of the film are literally trapped in their own bodies. In this state, they have no control over covetous male gazes.
The purpose of this film is to demonstrate the double sided ideal of love, which is the parallel of care/affection versus obsession/fascination.
Benigno’s motives may have a sense of purity, but the movie romanticizes him and his actions, almost making him seem like this hopeless, forlorn, loving and lost soul that can be understood and almost forgiven for raping a comatose woman.
This objectification of Alicia is a recurring theme in postmodern film.
There are strong connotations of possessiveness, implied by Benigno’s fixation with Alicia’s hair clip. …. As he carries on his one-sided conversations with Alicia, Almodóvar demonstrates that openness and communication do not equate to love, and that Benigno’s feelings are fulfilling a selfish desire to own Alicia rather than to truly love her.
Despite Lydia never telling Marco she wanted to break up, Marco learned of her intentions and respected them by allowing the ex to take his place by Lydia’s sickbed. Even when she cannot speak for herself, Lydia’s wishes are respected. Though she dies without ever waking, her power and wishes are taken seriously.
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