Filme mais ou menos, o roteiro é ruim, o elenco é fraco e ninguém ajuda a melhorar o filme, a história é fraca, mas o que salva o filme é a atuação da penélope Cruz, mas mesmo com isso, o filme não dá uma alavancada As cenas são fracas e nenhuma cena relevante e boa para fazer o filme ser bom.

Amazing. It’s such a beautiful story, with that mix of drama and humor that only Almodóvar can do. The actresses are incredible (Penélope Cruz is just perfect), and the story about women and their secrets pulls you in from the start.

Visualmente Lindo e com uma história emocionante e cômica em alguns momento. Volver consegue surpreender nas atuações e um roteiro ótimo! Apenas senti falta de finalizarem o romance que tinham começado entre Raimunda e o diretor do filme.

Cruz is on her best game while playing a wayward daughter, married to a man that attempts to abuse her daughter. When her mom comes back to town (from the dead) - the family's story finally sees some resolution.

Within Volver is the material for two highly charged films – a Hitchcockian thriller about murder, complete with an oversized knife as the murder weapon, and a melodramatic ghost story about a mother returning from the dead to complete unfinished business with her two daughters. That is not the impression that the film leaves us with however. As a filmmaker, Pedro Almodovar is not always known for his restraint, but Volver is strangely muted. Sex barely features in the film at all. The film is still brightly-coloured, but the focus on red seems appropriate in a film about blood, love and murder. There is less of the obtuse morality that often marks Almodovar's movies, though admittedly three murders occur, and we are encouraged to hope that they go unpunished. In an earlier film, What Have I Done to Deserve This?, a mother has no hesitation in allowing her 12-year-old son to live with an older man in order to pay for dental treatment. In Volver, a paedophile is killed, and no sympathy is expressed for him. On this occasion, Almodovar's morality is almost conventional. In a diary that Almodovar wrote for Volver, he said that the film is about death, and the way that the women in the La Mancha region deal with the culture of death. I say women because the men in this community die young, so the film's focus is on the women left behind. Death does feature strongly in the film. An old woman dies; a man is murdered; a neighbour is dying; a woman who is thought to be dead reappears with information concerning two other murders. This might make Volver sound like a depressing film, but that is not the case. It is a film as much about life as it is about death. The women in Volver take death in its stride. We see this in the opening scene set in a graveyard. Here there are no tearstained women delivering elegies over the tombstones of their dead. On the contrary, they are hard at work scrubbing the stones to make them look presentable. The movie's two heroines are Raimunda (Penélope Cruz) and Sole (Lola Dueñas). These two sisters have to deal with unusual situations concerning death, but they handle them by behaving in a brisk and business-like manner. There are no breakdowns or hysterics – a quick scream at best, after which they settle down and find prosaic solutions to the problems they face. This is not a film in which women are catty or vicious to one another. We see here the best in women, and their capacity to form close bonds. There is a lot of kissing in the film, and it is mostly between women. There is no need for a romantic plot in this film, as the women are self-sufficient, and do not need a man to complete them. The two sisters may squabble, but they look out for one another. Raimunda goes to great lengths to protect her daughter. Sole and Irene care for each other. The plot concerns the notion of returning. The very word Volver means ‘to return', and it is the subject of a song that Raimunda sings. The words of the song are about the need to stay hopeful amidst disillusion. One of the recurring images in Volver is that of the local windmills rotating. Volver achieved great box office success and widespread acclaim. Cruz became the first Spanish woman to be nominated for an Oscar, and many critics consider it to be Almodovar's best film. After Almodovar's early vulgar, brassy and lively comedies, films such as Volver, Talk to Her and All About My Mother showed a new maturity. For the first time, Almodovar was able to combine his mixture of soap opera, Grand Guignol, and camp and kitsch humour into a new form that touched on deeper and more universal issues. I wrote a longer appreciation of Volver on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2018/12/17/volver-2006/

With each new film I watch, I fall more in love with Almodovar's cinema. In "Volver", I would say, there are three main reasons for this: the direction, the script and the cast, with absolute emphasis on the excellent Penélope Cruz (I was mesmerized by her talent and beauty during the film). What surprises me most about Almodovar is his ability to tell stories of ordinary people so well, with relationships that could be ours. I also like the fact that he always brings historical or local context to his films. Volver has become one of my favorites of his. I will certainly watch again.

The premise of Pedro Almodovar's Volver sounds absolutely preposterous – sisters Raimunda (Penelope Cruz) and Sole (Lola Duenas) are forced to come to terms with the fact that their mother Irene (Carmen Maura) has seemingly returned from the grave to provide assistance to those in need. Throw in the bloody killing of Raimunda's husband as the result of him sexually assaulting her daughter and the subsequent hiding of his body in the freezer of a neighboring restaurant, it all sounds a bit silly. Somehow, Almodovar, as he always does, makes it work. How? It's cleverly plotted with some nifty twists, it is as visually vibrant as anything he has done, the characters all have great depth, and the acting is superb throughout. Granted, there are some minor threads of plot that just blow in the wind, but overall it is another winner from the Spanish master.

This is a typical Almodovar film - involving death, very domestic based, with quirky characters/plot twists and some dark comedy. There's a farcical element to it too. As ever, it features Penelope Cruz as the main character. I like the ambitious 'taking no nonsense' nature of the female characters he writes/directs. This film features Penelope singing a little bit, so that may appeal to you, if your a fan of hers and your yet to see this film. Yes, I'd recommend the film.

Ms. Cruz was amazingly attractive and an excellent actor. All the acting was great, but the screen play really blew me away. What a great drama and funny black comedy!

Esta película de 2006 es escrita y dirigida por Pedro Almodóvar, en la que tres generaciones de mujeres sobreviven al viento solano, al fuego, a la locura, a la superstición e incluso a la muerte, cuando una madre regresa a su pueblo natal para arreglar las situaciones que no pudo resolver durante su vida. Con la increíble actuación de Penélope Cruz, la historia trasciende la simple comedia surrealista y habla de manera profunda sobre la cultura de la muerte. Es entretenida de comienzo a fin con giros de trama inesperados y un guion muy inteligente que raya en el campo de lo psicológico y lo reflexivo. ¡La música de Alberto Iglesias es perfecta también!

Interesting film, very colorful, and deals with a deep and disturbing theme. the Director as always makes a spectacle with his unique way of telling the story

"Oh, so the body is in the freezer, I wonder if there will be any close shaves or repercussions." *Penélope Cruz begins a successful career selling mojitos* "I'm sure the corpse will come into play soon." *Penélope Cruz gets deep into family drama* "DEAD. GUY. IN. FREEZER." Almodóvar is just not my kind of director, most of the films I've seen from him fit into the same framework - melodramatic plotlines that are treated with particular cleverness and humor, but still melodramas at their core. That's not to say that they are bad films, far from it, just that they don't match up to my tastes. Volver has plenty of humor and champions familial love in a unique combination of affection, trauma, resentment, and passion; it serves as a well-designed mother-daughter relationship built off a unique premise - the mother being thought to be dead, which combines so well with the particular superstitions of this village that Almodóvar will trick you into thinking that her ghost is providing sage wisdom to her daughters as well. But once we move towards the family drama elements, the story leaves the distinctive aftertaste of a telenovela in your mouth, rather than a poignant drama. It's a distinctive component of the director's style, but for some reason it just doesn't appeal to me as much despite the clear skill with which Almodóvar weaves seemingly opposing tones together. Hot tip for corpse disposal: don't carve a memorial into a nearby tree. (3/5)

Great film! First of all, the acting is terrific. Penélope Cruz is obviously the pick of the bunch, she shows her quality and then some in the role; especially for the more emotive scenes. Lola Dueñas, Yohana Cobo and Carmen Maura also give noteworthy performances. Blanca Portillo makes her presence felt, too. The story is paced expertly, with the two hour run time flying by. It is quite the plot, with things of substance happening from practically the first first minutes. I really enjoyed seeing it all unfold. Everything also feels tangible, which is something I always appreciate. Cruz's dodgy moment of lip-syncing aside, 'Volver' is excellent!

LOVE this film. Cannot take your eyes off Penelope Cruz. Ravishingly beautiful and hilariously funny. Quirky story with all the right grace notes. One of my favorite comedies of all time.

I feel like this movie is very Spanish and very much for women. So I didn't get what was going on really. and I didn't really want to after the first few minutes. Most actors in it are alright. But it's not a must watch even if you'd be into those sorta movies. I promise.

Raimunda (Penélope Cruz) and Sole (Lola Dueñas) are sisters who grew up in Alcanfor de las Infantas, a small village in La Mancha, but now both live in Madrid. Their parents had died in a fire three years before. Raimunda and her daughter Paula (Yohana Cobo) live with Paula's father Paco (Antonio de la Torre). When he attempts to rape Paula, claiming that he is not really her father, Paula stabs him in self-defense. Raimunda hides the corpse in the deep-freezer of a nearby restaurant with an absent owner, Emilio (Carlos Blanco). When members of a film crew happen upon the restaurant, Raimunda strikes a deal to cater for them, and finds herself back in the restaurant business. Meanwhile, Sole returns for the funeral of her elderly, dementia-stricken Aunt Paula (Chus Lampreave). Aunt Paula's neighbour Agustina (Blanca Portillo) confesses to Sole that she has heard Paula talking to the ghost of their mother Irene (Carmen Maura). Sole encounters the ghost herself, and when she returns to Madrid, she discovers that the ghost has stowed away in the trunk of her car. Sole agrees to let Irene stay with her: Sole operates a hair salon in her apartment, and Irene will assist her. Irene says that she wants to know why Raimunda hates her, and why she herself is afraid to reveal herself to Raimunda. Raimunda reveals to Paula that Paco was not her biological father, and promises to tell her the whole story later. Agustina is diagnosed with terminal cancer and goes to Madrid for treatment. Raimunda visits her in the hospital. Agustina asks Raimunda if she has seen her mother's ghost. Agustina hopes that the ghost will be able to tell her about her own mother, who disappeared three years before. Raimunda leaves Paula with Sole, rents a van and transports the freezer to a convenient spot by the river Júcar. While staying in Sole's apartment, Paula meets her grandmother's ghost and grows close to her. The next night, Agustina comes to the restaurant, and reveals two startling secrets: her mother and Raimunda's father were having an affair, and her mother disappeared on the same day that Raimunda's parents died... Fotogramas, Spain's top film magazine, gave it a five-star rating. Upon its U.S. release, A. O. Scott made it an "NYT Critics' Pick" and wrote: To relate the details of the narrative—death, cancer, betrayal, parental abandonment, more death—would create an impression of dreariness and woe. But nothing could be further from the spirit of Volver which is buoyant without being flip, and consoling without ever becoming maudlin. Mr. Almodóvar acknowledges misfortune—and takes it seriously—from a perspective that is essentially comic. Very few filmmakers have managed to smile so convincingly in the face of misery and fatality: Jean Renoir and Billy Wilder come immediately to mind, and Mr. Almodóvar, if he is not yet their equal, surely belongs in their company. Volver is often dazzling in its artifice—José Luis Alcaine's ripe cinematography, Alberto Iglesias's suave, heart-tugging score— but it is never false. It draws you in, invites you to linger and makes you eager to return. Roger Ebert gave it his highest rating of four stars, calling it "enchanting, gentle, transgressive" and notes "Almodovar is above all a director who loves women—young, old, professional, amateur, mothers, daughters, granddaughters, dead, alive. Here his cheerful plot combines life after death with the concealment of murder, success in the restaurant business, the launching of daughters and with completely serendipitous solutions to (almost) everyone's problems". Rotten Tomatoes general consensus reads "Volver catches director Pedro Almodóvar and star Penélope Cruz at the peak of their respective powers, in service of a layered, thought-provoking film". "Volver" is yet another Pedro Almodovar film that drags with a story that doesn´t make ends meet in my book compared to what others have thought. "Volver" addresses themes like sexual abuse, loneliness and death, mixing the genres of farce, tragedy, melodrama, and magic realism. And Almodovar loves to present womanhood and their universe, that´s not an issue, but he is also a screenwriter that doesn´t really connect the dots to me. The logic went out the door when the script was written. It´s a mish mash of scenes and dramatic turns that is a bit over the top as always in a Pedro Almodovar film. I do like Penelope Cruz very much however and it´s great that she was nominated for the 2006 Academy Award for Best Actress, making her the first Spanish woman ever to be nominated in that category.

This is a very interesting film in more ways than one – it's lovely looking and fantastically acted with captivating female characters -- but the most impressive thing is the way that it's put together. Juggling tones and switching between them with ease, the cleverly written, multi-layered story approaches some heavy topics with such ease and lightness (even with a dark comedic touch) that the revelations, when they happen, come as a surprise. It's thought-provoking and brings up certain issues that we should all probably be paying more attention to, but it does it in such a way that it comes across as hopeful as the group of female characters strive to overcome their challenges.

With lurid and bold colours redolent of giallo films and a sense of macabre glee that's indicative of something mysterious lurking somewhere, Almodóvar deftly set the tone for Volver before lurching to comedy, firing on all cylinders with a malleable formula of strangely alluring melodrama and fiendishly farcical humour. Volver is a provoking film of death, domestic abuse and confessions, all encapsulated in rather breezy supernatural elements involving apparitions and superstitions. Plus, Penélope Cruz has never been better than she is here.

There's something about Almodóvar's films that give me the warm-and-fuzzies, even when they deal with rape, incest, and murder, somehow. Perhaps it's my predilection for Spain, or the color palette, the language, the excessive cheek-kissing, the whimsy of them all, but Volver had so much going for it until the second half of the third act. To start, this is a film about women. Besides a creep who gets what's coming to ‘im, a couple of scenes with a restaurateur, and a love interest that never materializes, the relationships surrounding six or so women drive the plot. We mainly follow Raimunda (Penélope Cruz, surprise, surprise) and her teenage daughter, Paula (Yohana Cobo), after their husband/father (Antonio de la Torre) tries to rape Paula and ends up dead in the kitchen. But this family, including Sole (Lola Dueñas), Aunt Paula (Chus Lampreave), sporting glasses that Bubbles would envy, and friend, Augustina (Blanca Portillo), are already hurting from something no one seems able to put a finger on. It got a little strange with the whole "ghost" concept and was too "magical realism" for my liking. Augustina wouldn't spill details on that crappy talk show to get lifesaving cancer treatment in Houston?? Also, super strange sentiments concerning Raimunda's husband at the end. "Glad he's resting there." You killed him after he tried to rape you? Lastly, there's this massive information dump that tied the story together, but would've been more enjoyable had it been revealed little-by-little. Volver has its moments — one of them being Penélope Cruz singing Flamenco — and warm relationships, and other je ne sais quois that come with an Almodóvar film, but I just wish it was unpackaged more neatly.

I sometimes struggle with subtitled films, because I want to enjoy the performances without worrying about needing to read the entire time (or enjoy the story and not worry about missing the acting). With this Penelope Cruz was so good I barley needed the subtitles to understand her.