Abstract
What do feminists, kitchens, and Spain’s ongoing historical trauma have to do with each other? In an Almodóvar film, well, everything. Pedro Almodóvar has been making genre-, gender-, and boundary-pushing cinema for forty-two years—nearly the entire post-Franco period—during which time he has released an impressive twenty-two (and a half) feature films. Yet, it is only now, with Madres paralelas (Parallel Mothers, 2021), that the director directly tackles the most painful remnant of Spain’s history, one that continues to fuel present-day divisions: the mass graves that hold the bodies of those disappeared by the Franco regime and the efforts to exhume and identify the bodies such that their family members may give them a proper resting place. Focusing on Parallel Mothers, Carla Marcantonio offers a survey of Almodóvar’s engagement with history and memory, as well as feminism and kitchens, over the course of his long career.
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