Pedro Almodóvar’s new film and a planned national museum both speak to the need to settle accounts with the past
In his latest film, released in the UK this week, Pedro Almodóvar breaks new ground in a career that began as Spain started to transition to democracy in the late 1970s. Until now, the great director’s work has virtually ignored the dark decades of dictatorship under General Francisco Franco. “It was my way of getting revenge on him,” he explained to the Guardian last week. “But it didn’t mean to say I’d forgotten.”
After Franco’s death in 1975, a “pact of forgetting” and an Amnesty Law largely drew a veil over the bloody atrocities of the Spanish civil war and the repressive era of dictatorship, allowing a traumatised population to move on. As the plot of Parallel Mothers reflects, this mood has given way on the left to a determination to bear witness to crimes never recognised or atoned for. The film stars Penelope Cruz as a photographer determined to exhume bodies from a mass grave near her village, where she believes her Republican great-grandfather lies after being summarily executed by fascist forces.
