In the early 90s, Pedro Almodóvar subverted popular culture, flamboyant aesthetic and dark humour to create dramatic, stylish cult Spanish films. However, All About My Mother (Todo sobre mi madre) is arguably where Almodóvar really comes into his own.

Not to say that he loses any of those qualities which keep his films unique and strong, yet he hones in on the Hollywood melodrama of Douglas Sirk and the theatrical power of Tenneasee Williams (a point heavily reference through the Streetcar Named Desire subplot throughout the film). Here, he focuses on mother Manuela, who loses her son in a fatal car accident. In her greiving and despair, she travels to Barcelona to find the father of her dead son, to tell him all that has happened. What ensues is a series of encounters with transvestite hookers, lesbian actresses and pregnant nuns.

What is evident about the film is its clear unique touch, unmistakable Almodóvar. The emotion poured into the film is that of a strong, confrontational nature, yet he dodges sickly sweet gushing through way of Agrado, the transvestite hooker who provides much of the film's comic relief. However, there is a definite meaning behind the film, one of a slight existential nature, capped off by Agrado who states, in front of a few hundred theatre-goers, that "The more you become like what you have dreamed for yourself, the more authentic you are"

Not to say that All About My Mother does not have its flaws. Towards the end, with the long-overdue introduction of Lola, Manuela's ex-husband, it begins to seem as if Almodóvar isn't making narrative choices as a writer, leaving the viewer feeling as if there was something missing. Still, this only gives incentive for repeated viewings. A strong emotional drama.