Entertainment

Pedro Almodóvar's first book, like his movies, blends reality and fiction: 'A fragmentary autobiography'

Published

2 years ago

September 16, 2024

Press Room

Pedro Almodóvar's first book, like his movies, blends reality and fiction: 'A fragmentary autobiography'

Fall Preview Books

The Last Dream

By Pedro Almodóvar, translated by Frank Wynne
HarperVia: 240 pages, $26

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When Pedro Almodóvar was a young boy, his mother would read and translate letters for their illiterate neighbors. One day, Almodóvar discovered that his mother was embellishing, even fabricating, what was in them.

With the irate purity of an 8-year-old, he confronted her and asked why she told one neighbor that the author of the letter had written movingly about her grandmother, a person not even mentioned in the communication.

“Did you see how happy she was?” his mother responded.

“That was a very good lesson for me even if I didn’t know it at that moment,” the Spanish filmmaker recalled in a recent video interview. Resplendent in a deep blue shirt, he was promoting his first book, a mix of short stories and personal essays called “The Last Dream.” The title piece is an essay about his mother that was written after her death.

“I soon realized reality needs fiction to make life easier and more livable,” he says, adding that it informed his stories and later his screenwriting. He always blended reality and fiction, telling personal stories without being beholden to a documentary-style reciting of the facts. (His mother also got Almodóvar a job teaching young men to read and write, which became a scene in “Pain and Glory.”)

Those stories have fueled a career that includes an original screenplay Oscar for “Talk to Her,” plus noms for his films “Women on the Verge of a Nervous Breakdown,” “All About My Mother” and “Pain and Glory.” Along the way, Almodóvar, whose movies are renowned for their vibrant color palettes and dynamic soundtracks, became an icon in the LGBTQ+ community for capturing the love — and the complex nuances — of queer characters and helped make Antonio Banderas and Penélope Cruz into stars.

Almodóvar’s book — out Sept. 24 — came about accidentally. He has always been a storyteller and started writing as a teen. “But then, as I grew older, I started experimenting with Super 8 films and discovered I had more talent for expressing my stories with images. I was better at writing for the movies than as a fiction writer.”

But he always wrote, even if he stuck the short stories and essays in a drawer. “I wrote because I wanted to,” he says. “I didn’t think about the stories being published or made into movies; I just felt the necessity of writing it.”

Eventually, his assistant, Lola García, pulled out some of the old folders and suggested that Almodóvar consider publishing them. As he notes in the introduction, he has never written a memoir, allowed for an authorized biography or even formally kept a diary. But Almodóvar found, on reading the pieces he has collected, that they amount to “a fragmentary autobiography, incomplete and a little cryptic.”

Of course, most of his films are so personal that they fill in many of those gaps. “My stories and movies are all mixed together in a kind of indivisible manner,” he says.

You might expect a director publishing his first book to stick to the writing but Almodóvar continually returns to the world of film in our conversation. He talks about having “always dreamed of writing a great novel” but finally accepting that he wouldn’t be able to while still hoping to at least write a “good and entertaining one,” then veers off into the difference between writing novels and scripts. He points to Cormac McCarthy’s screenplay for Ridley Scott’s “The Counselor,” starring Cruz, Michael Fassbender, Cameron Diaz, Javier Bardem and Brad Pitt.

“I love McCarthy’s novels, and they’re so full of dialogue so you immediately think they’d be a good script, but the rules for one are very different from the other, and it doesn’t mean the novelist can be a good screenwriter,” he says, then goes on to discuss Joseph and Herman Mankiewicz, Raymond Chandler and the ways writers do or do not adapt to Hollywood.

He also answers one question about his stories with a long explanation about how a car accident in “All About My Mother” is both an homage to John Cassavetes’ “Opening Night” and also deeply personal for him. “The movies I see, the things I read, they all become part of my own experience,” he says, “so there are many scenes in my movies that reference other movies.”

He also notes that the first story in his book, “The Visit,” later became the inspiration for his 2004 movie “Bad Education.” But it’s far from a straightforward adaptation. While the story opens with a classic Almodóvar flourish — a young woman flamboyantly dressed like Marlene Dietrich saunters through a small town before stopping at a Catholic school where she forces a showdown with the headmaster — and finishes with a dramatic plot twist, the film, with its multilayered meta examination of storytelling, is far more ambitious.

While “Bad Education” still condemns the church and the priests who sexually molested young boys and got away with it, that’s not the focal point. and the priests are even somewhat humanized.

“I wrote the story in the ’70s, and I can see my anger,” he says. “I was still furious in 2000, and I wanted to talk about the abuse but I was less interested in making an anticlerical movie than in talking about the origin of creativity and creation and how far people are willing to take a lie or a fiction. I was much more interested in sort of mixing all the different realities, including my own reality of being a filmmaker, as part of the story.”

Other stories, like “Too Many Gender Swaps,” aren’t directly connected to a specific movie, but he says they share thematic interests with his films. “You can see the origins of ‘Women on the Verge of a Nervous Breakdown’ and ‘All About My Mother’ in there,” he says.

Almodóvar notes that while he is very much still the same person who wrote all these stories across the decades, he is also very different. “Back then, I could spend the whole night in a disco, drinking and dancing and then in the morning go straight to work,” he says. “But there’s a moment [when] you have to choose between excitement and health. I decided to be healthy, to work more than party.”

While he gave up partying, his health has remained an issue — his spine and heart conditions are central to “Pain and Glory.” (He‘s had to have spinal fusion, which immobilized part of his spine.)

“Now, I just write and make movies,” he says. This year, he’ll release his first English-language feature, “The Room Next Door,” starring Julianne Moore and Tilda Swinton. “My excitement now comes from my work. This means that I’m condemned to keep on making movies. The only thing now is whether they are good or not.”

Movie Reviews

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Published

3 hours ago

April 24, 2026

Press Room

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Lionsgate

SPOILER NOTICE:

The following movie review does not contains direct spoilers for the film Michael, however general information in regards to the plot, characters, key climax points, biographical information and themes explored in the film will be heavily discussed. Please read at your own discretion, or after seeing the film in theaters.

There have been, so far, four films that aim to depict some portion of the beautifully tragic life of late pop music pioneer Michael Jackson, otherwise known to the world as The King Of Pop.

You’ve got The Jacksons: An American Dream, the near-perfect 1992 ABC miniseries that gave MJ, his brothers and verbally abusive father Joe Jackson equal screen time in order to make for a proper origin story. Then there’s Man in the Mirror: The Michael Jackson Story, an abysmal 2004 VH1 TV movie that acts as a spiritual sequel yet truly should’ve never been made. Almost a decade ago we got Michael Jackson: Searching for Neverland, the 2017 Lifetime Network attempt to cover his final years of life, told from the perspective of two bodyguards employed by him for merely two-and-a-half years.

Today (April 24), the world finally gets to see Michael. The 2026 true-to-form biopic boasts the biggest budget compared to the previous three projects, distribution handled by the renowned Lionsgate Films, a director’s chair occupied by Antoine Fuqua (Training Day, Brooklyn’s Finest) and MJ’s own nephew, Jaafar Jackson, starring in the titular role alongside a glowing supporting cast that includes Colman Domingo (Rustin), Nia Long (Love Jones), Miles Teller (Divergent) and Larenz Tate (Menace II Society) just to name a few. Not to mention, it’s got full backing from The Jacksons family and 100% musical clearance to assure his biggest hits are heard on the big screen.

With all that said, you might be expecting a masterpiece that borrows the best aspects from the original and rights the wrongs of the last two. Unfortunately, that’s not the case when it comes to Michael. Thankfully though, there’s so much more to love about this film in addition to a very strong potential for more.

Yes folks, we may very well be getting the first-ever sequel to a biopic sometime in the near future.

RELATED: You, Me & Tuscany Review – Sappy, Sweet, C+ Rom-Com

Before we get ahead of ourselves by discussing a potential sequel, let’s first start off with what you get out of Michael. The film covers Joe’s formation of The Jackson 5 in 1966 and ends with MJ’s iconic 1988 Wembley Stadium stop on the Bad Tour. The filler in-between covers their Chitlin’ Circuit days, the Motown era, run-ins with Gladys Knight and The Pips, finding his voice with Off The Wall, the epic creation of Thriller, the Motown 25 NBC special and the infamous Pepsi burning incident. Each of these scenes are done with great detail and a passion from all involved to get it as close to the real-life moments. However, what’s missing stands out like a sore thumb.

Both Rebbie and Janet are nowhere to be found — they each requested their likeness not be depicted — and neither is MJ’s longtime muse, Diana Ross. It was reported that actress Kat Graham was actually casted in the part, only to later have her scenes cut completely due to legalities. Off The Wall also gets painted as his solo debut of sorts, completely ignoring the four successful solo albums that preceded it when he was just a preteen. Also, while it’s perfectly clear who the movie is about based on the title, it does feel a bit off to see the closest people in his life demoted to barely-speaking supporting characters, save for Domingo’s powerful portrayal as mean ol’ Joe, Long as the ever-caring Mrs. Katherine and longtime bodyguard Bill Bray played by KeiLyn Durrel Jones.

On the positive side, Michael ultimately does more good than confusion. Jaafar is simply captivating when it comes to embodying his late superstar uncle, nailing everything from those easily-recognizable voice inflections to the classic dance moves. The film ends in 1988, right before MJ invests in Neverland Ranch, so don’t expect the heavy topic of his acquitted child sexual abuse allegations from 1993 and 2003 to be brought up either — well, yet anyway.

If in fact a “Jackson” sequel is in the works, we can only hope his full story is told with care, respect and most importantly the truth. Other important aspects we’d hope to see be depicted include an honest look at his vitiligo journey, the toll he suffered mentally as a result of the trials, the marriage, the kids, the dichotomy of balancing unprecedented riches against a substantial amount of debt and, yes, the prescription drug abuse that ultimately ended his life.

Overall, for everything Michael lacks there is something just as good to love about the film, and the potential for a sequel gives us hope that the best is still yet to come.

Watch the trailer for Michael below, and see for yourselves how The King Of Pop’s story began as his latest biopic hits theaters starting today:

Entertainment

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Published

5 hours ago

April 24, 2026

Press Room

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.

The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.

Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):

Channel 1

3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo

Channel 2

3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus

Sirius XM Music Row Happy Hour

1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo

Sirius XM Y’Allternative

5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber

Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Published

15 hours ago

April 23, 2026

Press Room

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.