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Opinion seems to be divided here about whether this is a comedy, possibly because the humour is pretty dark. Maybe some weren't laughing because they could see the jokes coming a mile off. But I still guffawed about half a dozen times, even if the portrayal of egotistical and vain actors was familiar and a little cliched. Possibly another reason some didn't laugh so much was on account of the robust, sometimes bracing humour which doesn't kow-tow to political correctness. Some laughed at the scene in which the elderly producer's daughter, cast to keep him on side and providing finance, is basically molested by each actor and finally ravished on the floor by Penelope Cruz, but I actually found it slightly shocking and unnecessary. There's also a lot of misogyny directed at Cruz by the warring male actors, although she does play several cruel tricks on them. So not 'light' but dark comedy, I would say. Great performances all round, I especially liked Oscar Martinez.

This movie is marketed as black comedy (it could be blacker for my taste) but it is basically a vehicle for great actors to overact, making fun of their profession but also show facets of their craft (there are many ways to say "Good Day"). On the other hand the movie draws attention to some facets of filmmaking that is usually neglectet, e. G. the importance of how sound is recorded.

We've seen many films about filmmaking and art, and this is definitely not one of the worst of its kind.

Greetings again from the darkness. Satire is one of the most challenging cinematic genres to get right. The script and performances are crucial, and the director must walk a fine line between too subtle and over-the-top. The long-time collaborative filmmaking team of co-writers and co-directors Mariano Cohn and Gaston Duprat, along with co-writer Andres Duprat, strike just the right chord and deliver a gem that is funny, insightful, and quite entertaining. The film was well received at last year's Venice Film Festival, but is only now getting distribution.

We open on Don Umberto Suarez (Jose Luis Gomez), a wealthy pharmaceutical businessman, as he peruses the many gifts that have arrived for his 80th birthday. He's in a reflective mood and wonders what he can do to secure his legacy so as not to be forgotten. Suarez debates between building a bridge or financing a "great" movie, one that will stand the test of time. He knows nothing of the film industry, and doesn't bother to read the best-seller book he secures the rights to. He then meets with eccentric film director Lola Cuevas (Oscar winner Penelope Cruz, VICKY CRISTINA BARCELONA, 2008), yet seems oblivious to what we see - her vision runs contrary to his, as evidenced by her production notebook that looks like a teenager's scrapbook from summer camp. She buys in to his "best cast" demands and leaves him believing "his" film is in good hands.

Ms. Cruz is so perfect in this role that even her giant frizzy flame-red wig is simpatico with director Lola's intense personality as an auteur. Things really take off when rehearsal begins and her two lead actors arrive. Antonio Banderas plays Felix Rivero, a global movie star who lives the rock star life with women and sports cars. He's the personality antithesis of his co-star Ivan Torres, played by Oscar Martinez, a self-absorbed stage actor who views his world as prestigious, while mocking the glitz, glamor, and money that rules Felix's world. An architecturally stunning art institute funded by Suarez serves as the rehearsal site, since it sits empty and unused.

Felix and Ivan are to play rival brothers, and the tension that develops between the two men is hilarious ... and further spurred by Lola's acting exercises. She prods Ivan on the simple line, "Good evening", forcing him to repeat it multiple times, just as she toys with Felix on his level of intoxication (a range of 1 to 10). To increase the tension, Lola has the men rehearse underneath a giant boulder dangling overhead by crane. As the two actors battle it out for respect from the other and favoritism from Lola, the humor escalates at the same pace as egos are wounded. After scoffing at the mention of Felix's awards, Ivan secretly practices his Oscar-acceptance speech in his dressing room. It becomes clear that each of the men want what the other has: Felix wants prestige, while Ivan wants recognition.

There are so many terrific scenes and moments here, including a foreshadowed twist and a sequence that combines industry awards, an industrial shredder, and the strength of Saran Wrap. All three lead actors are having a blast, and the supporting cast lends authenticity to this skewering of wealth, ego, art, and the film industry. Especially effective in support are Irene Escolar as Suarez's daughter who has been cast in the film, and Pilar Castro as Violetta, Ivan's equally pretentious wife. This is satire at it's finest, and the filmmakers (and Ms. Cruz) even nail the ending. Kudos to one of my favorite movies of the year.

Good Almodovar Film.

Oh hang on its not one of his.

Could have fooled me.

I liked it. Pedro would be proud of his acolytes.

Good cinematography. The full face close ups are exactly like an Almodovar film

The mise en scene exactly like an Almodovar film.

The colour palette, the set design, the location choices, the humour, all exactly like an Almodovar film.

The casting...you know what.

All that being said, it's nice to watch an almost Almodovar film. Beats most other films made at the moment.

Come on, maybe the final joke of this film is the two directors are actually fictional characters, and really the director is Pedro Almodovar?

It starts with a not so original theme, a movie about making a movie, but with the quality of the participants you expect something well done and this movie is up to par. It has a good pace with lots of jokes and little twists. It makes fun of everything and everyone without taking itself too seriously.