{"id":32361,"date":"2021-04-04T09:04:52","date_gmt":"2021-04-04T09:04:52","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=32361"},"modified":"2024-09-15T17:15:37","modified_gmt":"2024-09-15T17:15:37","slug":"the-human-voice-pedro-almodovars-perfect-pandemic-art","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/the-human-voice-pedro-almodovars-perfect-pandemic-art\/","title":{"rendered":"\u201cThe Human Voice:\u201d Pedro Almod\u00f3var\u2019s Perfect Pandemic Art"},"content":{"rendered":"\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"630\" data-attachment-id=\"32967\" data-permalink=\"https:\/\/jwolfepr.com\/dev\/humanvoice\/\" data-orig-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2021\/04\/HumanVoice.jpg?fit=1200%2C630&amp;ssl=1\" data-orig-size=\"1200,630\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"HumanVoice\" data-image-description=\"&lt;p&gt;Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics&lt;\/p&gt;\n\" data-image-caption=\"&lt;p&gt;Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2021\/04\/HumanVoice.jpg?fit=1024%2C538&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/HumanVoice.jpg?resize=1200%2C630&#038;ssl=1\" alt=\"Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32967\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Now playing in select theaters via Sony Pictures Classics, Pedro Almod\u00f3var\u2019s first English-language film, <em>The Human Voice<\/em>, stars Tilda Swinton as a woman traumatized by the end of a relationship. In the film, which was recently <a href=\"https:\/\/www.oscars.org\/news\/93rd-oscarsr-shortlists-nine-award-categories-announced\" target=\"_blank\" rel=\"noreferrer noopener\">shortlisted for an Oscar for best live action short<\/a>, Swinton plays a nameless woman who passes time as she watches over the suitcases of her former lover \u2014 who is supposed to come pick them up, but never arrives \u2014 and a restless dog called Dash who doesn\u2019t understand that his master has abandoned him. Over the course of 30 minutes, Swinton runs through a gamut of emotions ranging from despair and fury to exhilaration and triumph, all while isolated in a luxurious apartment that also just happens to be a stage set.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Almod\u00f3var turned to two of his longtime collaborators for the stylish short film, which was photographed by cinematographer Jos\u00e9 Luis Alcaine and features music by composer Alberto Iglesias. \u201cOnce again, the lighting was in the hands of Jos\u00e9 Luis Alcaine, the last great maestro of light left in Spanish cinema,\u201d Almod\u00f3var notes. \u201cAll the favorite colors of my palette are represented in the set, but after eight films, Alcaine is the one who best knows my preference for saturation and vibrant colors, my nostalgia for Technicolor.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE HUMAN VOICE | Official Trailer (2021)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/G3lGM39dKuY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAlmod\u00f3var\u2019s sensory filmmaking and Tilda Swinton\u2019s bracing lead performance make the 30-minute short film feel as emotionally fulfilling as any feature film,\u201d <a href=\"https:\/\/www.indiewire.com\/2020\/12\/human-voice-trailer-pedro-almodovar-tilda-swinton-short-film-1234606447\/\" target=\"_blank\" rel=\"noreferrer noopener\">Zack Sharf<\/a> writes in <em>IndieWire<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI always considered this adaptation as an experiment, a whim in which I would show what, in theater, is called the fourth wall, and in cinema would be to show the part behind, that is, the wooden structure that holds up the walls of the realistic set, the material reality of what is fictional,\u201d the director says in a statement:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe reality of this woman is the pain, the solitude, the darkness in which she lives. I have tried to make all this obvious, moving and eloquent through the (sublime) performance by Tilda Swinton, showing very early on that her house is a construction inside a cinema sound stage. By showing it on all sides, coming out of the realistic decor and making use of all the space in the studio, I have enlarged, as it were, the size of the setting where the monologue is performed. I have mixed the cinematic and the theatrical, combining their essences.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2020\/12\/human-voice-trailer-pedro-almodovar-tilda-swinton-short-film-1234606447\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018The Human Voice\u2019 Trailer: Tilda Swinton Burns the Screen Down in Almod\u00f3var\u2019s Short Film (IndieWire)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-05.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Tilda Swinton and Pedro Almod\u00f3var on the set of \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32357\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton and Pedro Almod\u00f3var on the set of \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In her review of the film for <em>Vulture<\/em>, <a href=\"https:\/\/www.vulture.com\/article\/movie-review-pedro-almodvars-the-human-voice.html\" target=\"_blank\" rel=\"noreferrer noopener\">Alison Willmore<\/a> writes that \u201c<em>The Human Voice<\/em> is all about the muddied lines between the fabricated and the genuine, and about how much a performance can be divorced from the sincere feelings that might be undergirding it.\u201d Almod\u00f3var highlights the artificiality of the production from the start, she notes:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201c\u2026with Swinton in a Balenciaga ball gown wandering morosely around a soundstage that\u2019s soon revealed to contain the apartment in which her unnamed character lives. It\u2019s a gorgeously appointed place, all rich colors and inviting textures and enviable furnishings, the kind of creation that looks like it\u2019s right out of an Almod\u00f3var film, with periodic shots from above or of the plywood exterior to remind us that that\u2019s precisely what it is.\u201d<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.vulture.com\/article\/movie-review-pedro-almodvars-the-human-voice.html\" target=\"_blank\" rel=\"noreferrer noopener\">Pedro Almod\u00f3var\u2019s English-Language Debut The Human Voice Is a Perfect Half-Hour of Film (Vulture)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Human Voice | Clip | NYFF58\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/MxIGGMHC-rw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.vulture.com\/article\/pedro-almodovar-the-human-voice-interview.html\" target=\"_blank\" rel=\"noreferrer noopener\">Rachel Handler<\/a>, also writing for <em>Vulture<\/em>, asked Almod\u00f3var when he had decided that the apartment should be revealed as a set. \u201cI always wanted to show what was behind the set \u2014 not show the mechanics behind the soundstage or the set as much as the substance, the material it\u2019s all made of: the panels, the structures,\u201d the Spanish director said in the interview. \u201cThe theatrical part is her on the set, which is her house, but at the same time, I was showing people where we actually were: We were making it on a soundstage. She\u2019s walking around the soundstage, talking, and you can see that. So it\u2019s not so much theater turned <em>into<\/em> film, but an organic blend of the two \u2014 of theater and cinema.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the beginning, Almod\u00f3var was motivated by the idea of showing this woman and her desperation:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cShe\u2019s there, she\u2019s alone, she\u2019s in her own house, which is realistic and a naturalist view on the house she\u2019d have, but the idea was all about this woman going out onto her balcony, and there she is, waiting. We\u2019ve already seen her earlier on: She\u2019s absolutely desperate, she changes the clothes she\u2019s wearing all the time. And she goes out onto that balcony, and it\u2019s terrible, isn\u2019t it? There\u2019s no skylight. All she can see is this dirty wall about eight meters away from her window, and that\u2019s the image I had in my head all the time. For me, that image is the absolute categorical picture of what solitude is. The solitude this woman is living in, the absurdity of her life, and the darkness that she\u2019s living in.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.vulture.com\/article\/pedro-almodovar-the-human-voice-interview.html\" target=\"_blank\" rel=\"noreferrer noopener\">Almod\u00f3var on The Human Voice, a Film Inspired by \u2018Desperation\u2019 (Vulture)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-04.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32356\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The Human Voice<\/em> is the third film from Almod\u00f3var to take inspiration from Jean Cocteau\u2019s 1930 stage play of the same name. \u201cThe text by Cocteau on which the script of this human voice is freely based is an old acquaintance of mine, which had already served as inspiration for me on other occasions,\u201d he recounts in his director\u2019s statement:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cI tried to adapt it when I started writing <em>Women On the Verge Of A Nervous Breakdown<\/em>, but what came out was a screwball comedy where the lover didn\u2019t call and, therefore, there was no place for the telephone monologue. A year earlier, I included it in a scene from <em>Law of Desire<\/em>, where the protagonist is a director who directs his sister in a version of <em>The Human Voice<\/em>. At that time, I already thought that a character in such a state of nerves was capable of picking up an axe to destroy the house where she had lived with the man who is abandoning her. The idea of the axe came about in <em>Law of Desire<\/em>. And now it reappears.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Despite these previous attempts, Almod\u00f3var felt he hadn\u2019t been faithful to Cocteau\u2019s play, which runs between 25 and 30 minutes, he said in an interview with <a href=\"https:\/\/www.thedailybeast.com\/pedro-almodovar-and-tilda-swinton-on-their-pandemic-triumph-the-human-voice\" target=\"_blank\" rel=\"noreferrer noopener\">Carlos Aguilar<\/a> for <em>The Daily Beast<\/em>. \u201cI wanted to get closer to what this theatrical piece is as literature. With that disposition I sat down to adapt it. In doing that, I discovered something I wasn\u2019t conscious of 30 years ago, which is that I didn\u2019t recognize myself in the character\u2019s submissiveness, with the guilt she carries. In Cocteau\u2019s piece the character constantly blames herself,\u201d he told Aguilar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Saturated in Almod\u00f3var\u2019s signature color palette, the apartment \u201ceven features books and DVDs that almost certainly belong to the artist himself,\u201d Aguilar notes. \u201cThis was one of the reasons for making the short,\u201d the director offered. \u201cThe first images that came to my mind were of a woman completely alone, isolated in a place waiting for a call. I wanted to mix what\u2019s essentially theatrical which is the interior where she lives, with something essentially cinematic, and I wanted both things to be unified.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.thedailybeast.com\/pedro-almodovar-and-tilda-swinton-on-their-pandemic-triumph-the-human-voice\" target=\"_blank\" rel=\"noreferrer noopener\">Pedro Almod\u00f3var and Tilda Swinton on Their Pandemic Triumph \u2018The Human Voice\u2019 (The Daily Beast)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-01-1200x630-1.jpg?ssl=1\" alt=\"Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32353\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The Human Voice<\/em> \u201cspeaks to our lockdown neuroses: Tilda Swinton indoors, alone and increasingly distraught,\u201d <a href=\"https:\/\/www.theguardian.com\/film\/2020\/nov\/02\/pedro-almodovar-new-film-lockdown-the-human-voice-tilda-swinton\" target=\"_blank\" rel=\"noreferrer noopener\">Steve Rose<\/a> writes in <em>The Guardian<\/em>. \u201cLike many film-makers, Almod\u00f3var and Swinton were operating under constrained, Covid-proofed conditions. This era will be marked in history by a preponderance of minimal, self-made or skeleton-crewed movies,\u201d he observes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But by placing the apartment in a stage set, Almod\u00f3var shows that none of its luxurious cultural trappings \u2014 haute couture outfits, Chanel bags, paintings by De Chirico and Alberto Vargas, and what looks suspiciously like a designer axe \u2014 are real. Reinforcing this idea, Swinton appears to play herself: \u201cThe clients love my pallor. That mixture of madness and melancholy,\u201d she says in the film.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c<em>The Human Voice<\/em> could be seen as Almod\u00f3var embracing the ironies\u201d of the global pandemic, Rose suggests. \u201cThe movie is set in the spaces of both the home and the cinema, and asks if there\u2019s still a difference. Fittingly, Swinton resolves things at the climax in her own cathartic, violent, yet tastefully designed way. Hopefully cinema can do something similar.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.theguardian.com\/film\/2020\/nov\/02\/pedro-almodovar-new-film-lockdown-the-human-voice-tilda-swinton\" target=\"_blank\" rel=\"noreferrer noopener\">Home alone: how Almod\u00f3var\u2019s new film finds innovation in lockdown (The Guardian)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1040\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-02.jpg?resize=1040%2C720&#038;ssl=1\" alt=\"Tilda Swinton as Her and Dash the dog in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32354\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her and Dash the dog in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Speaking with Eleanor Stanford in an interview for the <em>New York Times<\/em>, Swinton calls the opportunity to work with Almod\u00f3var \u201ccathartic,\u201d particularly in the midst of a pandemic. \u201cIt was really wonderful to make something in July. That was such a blessing. We were all so happy to work \u2014 and to prove to ourselves that we can do it,\u201d she said.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe\u2019re just going to have to evolve, and we just have to figure it out,\u201d Swinton continues. \u201cWe figured it out with this movie: We\u2019re in a studio, we\u2019re with a relatively small crew, it\u2019s entirely controlled, we were constantly tested. And we just did it.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Swinton described working on set \u201clike having held your breath underwater for a long time,\u201d she said:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cI\u2019m finding the most borderline traumatic things are the things that are similar: If everything was completely different, it might be easier to adapt, but when things are anything like what you recognize from before March, it is confusing, and confusion is very exhausting.<br><br>\u201cSo after a millisecond of realizing there were going to be crew members I will never recognize without their masks, we just approached shooting a film the way we always would have shot it: A few things are going to change in this new world, and so much more is not going to change.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.nytimes.com\/2020\/09\/08\/movies\/tilda-swinton-the-human-voice.html\" target=\"_blank\" rel=\"noreferrer noopener\">Tilda Swinton Has Made the \u2018Ultimate Lockdown Film\u2019 (New York Times)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-03.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics\" class=\"wp-image-32355\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Iglesias Mas\/Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Speaking at a press conference from the Venice Film Festival, where <em>The Human Voice<\/em> had its world premiere, Almod\u00f3var described his approach to making the film, <a href=\"https:\/\/deadline.com\/2020\/09\/tilda-swinton-pedro-almodovar-venice-film-festival-the-human-voice-netflix-gender-neutral-awards-1234569772\/\" target=\"_blank\" rel=\"noreferrer noopener\">Nancy Tartaglione<\/a> reports in <em>Deadline<\/em>. \u201cEver since <em>Julieta<\/em>, I have the impression of palpably entering a new season,\u201d he said. \u201cI am working towards a leaner narrative with fewer elements, but I analyze them very deeply. The experience of sobriety and austerity accompanied me also in <em>Pain And Glory<\/em>. It\u2019s something new that I\u2019m experiencing in this season of my life and I am trying to investigate it.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But despite a new content distribution paradigm fueled by the global pandemic, the famed director remains firm in his belief that his films aren\u2019t made for streaming. \u201cFilms are made to be seen by any means, but as a director and spectator the fact that a film of mine is show in a theater, that I can hear audience breathe, gives me the pulse of to what extent my film excites people,\u201d he said. \u201cIf I put my film on a platform like Netflix, I lose that contact with the spectator.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/deadline.com\/2020\/09\/tilda-swinton-pedro-almodovar-venice-film-festival-the-human-voice-netflix-gender-neutral-awards-1234569772\/\" target=\"_blank\" rel=\"noreferrer noopener\">Venice: Pedro Almodovar &amp; Tilda Swinton Talk \u2018The Human Voice\u2019, \u201cEssential\u201d Role Of Going To The Cinema (Deadline)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"960\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/THV-07.jpg?resize=960%2C720&#038;ssl=1\" alt=\"Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Jose\u0301 Luis Alcaine\/ Sony Pictures Classics\" class=\"wp-image-32359\"\/><figcaption class=\"wp-element-caption\">Tilda Swinton as Her in \u201cThe Human Voice.\u201d Cr: Jose\u0301 Luis Alcaine\/ Sony Pictures Classics<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe truth is I have really enjoyed this experiment,\u201d Almod\u00f3var comments in his director\u2019s statement. \u201cTransforming, for example, an enormous chroma green screen, usually so ugly, into a kind of operatic curtain was stimulating, fun and exciting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cDespite the fact that it is spoken in English, that <em>The Human Voice<\/em> is my debut in that language, and that the shoot was absolutely idyllic, I\u2019m not sure that I\u2019m ready to tackle another shoot in English. What I am sure about is that I can direct Tilda Swinton in her native language.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Want more? Watch the video below, from the 2020 edition of the New York Film Festival, where Almod\u00f3var and Swinton discuss <em>The Human Voice<\/em> and the perseverance of cinema:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pedro Almod\u00f3var &amp; Tilda Swinton on The Human Voice and the Perseverance of Cinema | NYFF58\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Jg890EAtZTQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Spanish director\u2019s new short film starring Tilda Swinton channels the desperation of the COVID era.<\/p>\n","protected":false},"author":2,"featured_media":32967,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-32361","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u201cThe Human Voice:\u201d Pedro Almod\u00f3var\u2019s Perfect Pandemic Art | Jennifer Wolfe<\/title>\n<meta name=\"description\" content=\"The Spanish director\u2019s new short film starring Tilda Swinton channels the desperation of the COVID era.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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