ALMODÓVAR´S HOMECOMING

 

    original image and video courtesy ©El Deseo



The volcanic landscapes of Lanzarote hold secrets older than cinema itself, their black stones bearing witness to forces that reshape worlds from within. Here, between June and August 2025, Pedro Almodóvar returned to film his twenty-fourth feature, choosing terrain he knows intimately, having previously captured these Canary shores in Los abrazos rotos, to tell a story about grief, escape, and the curious ways life bleeds into fiction. 

Amarga Navidad arrives as homecoming. Fresh from Venice, where The Room Next Door earned him the Golden Lion for his first English-language venture, Almodóvar pivots back to Spanish with the ease of a man slipping into familiar rooms. The title itself carries double resonance: it references both Chavela Vargas's haunting ranchera, that rough-voiced interpreter whose songs have scored his most intimate moments in Kika, Carne trémula, La flor de mi secreto, and Julieta, and one of the twelve tales in his 2023 book El último sueño, a fragmentary autobiography disguised as fiction. 

The narrative follows Elsa, an advertising director whose mother dies during December's long holiday break. Rather than mourn, she drowns herself in work, a recognisable form of flight, until a panic attack forces stillness. Her partner, Bonifacio, becomes the anchor; her friend Patricia, the travelling companion. Together, they escape to Lanzarote while Bonifacio remains in Madrid. Yet their story runs parallel to another: that of screenwriter and film director Raúl Durán, creating a mise en abyme Almodóvar describes as exploring "how life and fiction are inseparably linked, sometimes painfully so." 

DREAMFLOWER

 



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WHERE GOD WHISPERS THROUGH WALLPAPER: PATTI SMITH´S TESTAMENT TO MEMORY AND BECOMING

 



God whispers through a crease in the wallpaper. This opening invocation from Patti Smith's Bread of Angels announces a memoir unlike her previous explorations, neither the intimate chronicle of artistic partnership that distinguished Just Kids nor the meditative wanderings of M Train. Here, Smith excavates the geological strata of selfhood itself, probing the mystery of how a consumptive child in condemned housing became the priestess of punk, how illness transmuted into vision, how deprivation forged an imagination capable of transforming the quotidian into the sacred. 

Published November 4, 2025, that threshold date marking both Robert Mapplethorpe's birth (1946) and Fred "Sonic" Smith's death (1994), the memoir arrives bearing the weight of more than a decade's labour. The manuscript halted entirely when Smith, working at her customary café table with notebook and coffee, discovered midway through writing that the biographical foundation upon which she'd built her narrative required fundamental revision. The first DNA test in 2012 with her sister Linda revealed they were half-sisters, not sharing Grant Smith as their father. Smith initially accepted the long-whispered family theory that her mother's Uncle Joe had fathered her. Then came the second test, an autosomal DNA analysis taken shortly before her 70th birthday to explore her mother's lineage more deeply. The results arrived on her seventieth birthday like an unwelcome oracle, revealing "100% Ashkenazi" ancestry with Russian roots, categorically eliminating Uncle Joe and leaving the identity of her biological father a complete mystery. 

The book opens in what Smith renders as Dickensian terrain: a post-World War II condemned housing complex where consumptive children vanished like smoke, neighbours disappeared in the night, rats maintained their provinces in shadowed corners, and a beguiling book of Irish fairy tales offered portals elsewhere. Against this backdrop of deprivation, Smith positioned herself as captain of her "loyal and beloved sibling army," fabricating elaborate cosmologies to vanquish schoolyard tyrants and establish diplomatic relations with the king of tortoises. Childhood becomes, in her telling, a succession of fevers and visions, tuberculosis, scarlet fever, bronchial pneumonia, the pandemic flu of 1958, mononucleosis, each illness a forced retreat into imagination's country. 

TO MY GRANDMOTHER

My Light

My Light

In the garden where light falls differently now, there persists a quality of attention, the way her hands understood soil, the way silence between words held more than speech ever could. She knew that survival is breath and the small, radical acts: bread broken, a door left open, the choice to remain soft in a hard world. What endures is the gesture, the unspoken language of care she taught us, how to tend what is fragile, how to honour what passes, how to live as if beauty and sorrow are companions walking the same road. She made of her life a country we still inhabit.

There are people who become your geography. She was mine. The fixed point in a turning world, the ground beneath every flight, every fall. Her strength was the kind that required no announcement, no display. It simply was. Like bedrock, like the pull of gravity, like the fact of morning. I built my life on the certainty of her presence, and she held that weight without complaint, without ever making me feel the burden of being held.

She spoke plainly. There was no decoration in her truth, no softening of edges for comfort's sake. When she said a thing, you could build a house on it. This was its own form of love, the refusal to lie, even kindly. The world offers us endless illusions; she offered clarity. In a life full of shifting ground, she was the place I could return to and find things exactly as they were, exactly as she said they would be. This was not hardness. This was the deep tenderness of someone who respected you enough to tell you the truth.

I think of her hands again. How they worked. How they rested. How they gestured when she spoke, spare and certain. There was economy in everything she did, nothing wasted, nothing excessive. She moved through the world with the precision of someone who understood that resources, time, energy, and love are finite and therefore sacred. She did not scatter herself. She gathered. She focused. She attended.

And in that attention, I learned what it means to be seen. Really seen. Not the performance of yourself you offer the world, but the actual architecture of who you are beneath the presentation. She saw through to the foundation and loved what she found there. This is the gift that steadies you for life: to be known completely and not turned away from.

The strength she gave me was not her own, but the kind she cultivated in me by being unmovable herself. A tree grows strong against the wind. I grew strong against her certainty, her refusal to waver, her absolute commitment to standing exactly where she stood. She taught me that you do not survive by bending to every pressure, but by knowing what you are made of and trusting that structure to hold.

She is gone, and the world feels less stable without her. But she built something in me that remains. A core of clarity. A capacity to stand. The knowledge that love is not always gentle, that sometimes it arrives as truth-telling, as the firm hand that will not let you fall, even when you want to. She made me solid. She made me capable. She made me able to walk through fire and not lose myself in it.

This is what I carry forward: her straightness, her strength, her absolute refusal to perform what she was not. The garden grows differently now, but the soil still holds what she planted. I am what she planted. And I will tend it the way she taught me, with attention, with care, with the radical act of remaining soft in a hard world while standing on ground that will not give way.

She made of her life a country we still inhabit. And I am building my home here, in the land she left behind, with the tools she placed in my hands.

tedorè

WHEN EARTH MET VISION: THE MIRÓ-ARTIGAS COLLABORATION

 




Fire transforms what patience prepares. In the mountainous village of Gallifa, thirty kilometres north of Barcelona, this ancient principle found its modern expression in the hands of two artists who refused the boundary between potter and painter. Joan Miró and Josep Llorens Artigas created together what neither could have conceived alone: a body of work where clay became cosmos, where the wheel's rotation traced the same orbit as celestial bodies. 

Their paths crossed first in the Barcelona of their youth, where both attended the Cercle Artístic de Sant Lluc and studied under Francesc Galí. They founded the Agrupació Courbet together, sharing the rebellious energy of young artists determined to escape family expectations. Artigas, born in 1892, and Miró, following a year later in 1893, both chose art against the current of familial will, choosing the studio over the counting house, the kiln over respectability. 

Between their youth and their maturity lay decades of separate journeys. Artigas travelled to Paris, where he established his studio on rue Blomet in 1924, where he moved among Marquet, Picasso, Buñuel, and Braque, where his research at the Sorbonne into Egyptian pottery and blue glazes would shape everything that followed. The Spanish Civil War forced his return to Barcelona in 1936, and there he taught ceramics at the Escuela Massana while the world burned around him. 

Miró's path traced a different arc through those same decades. In 1920, he made his first journey to Paris, meeting Picasso, taking a studio at 45 rue Blomet, the same building where André Masson worked, the same address where their futures would intertwine. Throughout the 1920s, he alternated winters in Paris with summers at his family's farm in Montroig, Tarragona, where his symbolic language deepened. The Farm, finished in 1921, captured everything one felt about Spain,n whether present or absent—Ernest Hemingway would later say this, purchasing the painting for himself. By 192,4 Miró had joined the Surrealists, though he maintained his individual creative freedom, developing what he called peinture-poésie, painting-poetry, where biomorphic forms and words floated above blue expanses.