The Skin I Live In (2011)

The Skin I Live In 

(La Piel Que Habito, 2011)                              4/5

Directed by Pedro Almodóvar

Antonio Banderas, Elena Anaya

In this Spanish horror, world-class plastic surgeon Robert Ledgard (Antonio Banderas) has developed damage-resistant synthetic skin. His research is forbidden for further testing for ethical reasons, but unbeknownst to his colleagues Robert has already successfully transplanted the skin onto a human, covering the body of Vera (Elena Anaya), a mysterious woman whom Robert keeps locked in his home.

The plot is somewhat overly melodramatic, but intelligently written so as to be forgivable. At some points the plot is pushed forward lazily, even going so far as to have Robert’s head servant Marilia (Marisa Paredes) sit by a fire and exposit a large mass of plot information. In this particular scene, the visuals become a side-note to Marilia’s long-winded story, which amounts to a verbal crutch with which the film sets up its second half.

Thematically, Almodóvar accomplishes what many horror directors fail to, combining an entertainingly horrifying (in a very Spanish way) story with rich, complex themes. The themes presented are not necessarily new to the genre (revolving mainly around sexuality, gender, and body image), but whereas other horrors might favor entertainment to the point of only including these themes coincidentally, this film actively revolves around its themes, crafting complex patterns and juxtapositions among its central story and supporting plot points.

Visually, there is a refreshing reversal of a typical modern horror which sees a gruesome and disturbing tale emerge from relatively little gore (where many would revolve around depicting torture and bloodshed), instead favouring a focus on depictions of sexuality (where many would include sexuality as secondary to gore, or perhaps even causally linked to bloodshed). The costuming is exceptionally important, as is the makeup and set design, and all of it is meticulously put together to great effect. The cinematography and editing is used in various places to enrich the film’s themes and emotions, including many aspects of voyeurism and separation through a camera lens. 

The performances feature stunning physicality, particularly in the way the characters interact. Anaya is spectacular as the mysteriously troubled Vera, whose interactions with men are intimate but with an intangibly disturbing quality. Standing in front of Banderas, she presses her face up against his with her nose at his mouth, making the entire scene awkward in a wonderfully eerie way. Banderas’ role can perhaps be best summed up with the word “obsessive”, creating an intriguingly determined and creepy “Mad Scientist” type character.

Overall, the film suffers from some issues with lazy plot development, but nothing that cannot be overlooked for the sake of an intriguing story full of eerie characters and exceptionally rich themes.

This review was requested by Jenn Vickers.

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