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Julia Kristeva declares of Philippe Soller’s novel 207); in a similar fashion, we could affirm of Almodóvar’s films that they exist in the rhythm of sounds, the hue of colors, the dynamism and fluidity of primal drives, and the stern rigidity of the “Law of the Father.” In my analysis of Almodóvar’s films, I will be referring to the theories of Jacques Lacan and Julia Kristeva as they formulate the processes of the subject’s coming-into-language.Lacan and Kristeva’s psychoanalytical theories help us to understand the incursions of the subject’s primal drives, instincts, and impulses into social life—or the realm of language, and the subject’s illusory formation as a coherent and unified self.

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His films are characterized by a desire to destroy prevailing cultural, political, and historical models.This critical posture should endorse no position, and should place itself in a space that has no solid center, since the Spanish director’s cinematography is itself located in the place of no one.