教的精神隨處可見，常見的「慾望」命題更是對過去佛朗哥

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1997 年在《顫抖的慾望》（Live Flesh）中，阿莫多瓦用一部電影的時間帶領觀眾在佛朗哥政權跨台前後，看一個榮譽市民如何被擁戴、被加冕，又是如何淪為永不得翻身的階下囚，而隨著人與人關係間情感的碰撞與時間的流轉，最終我們看見的是：一個充滿愛與希望的父親，滿懷期待地準備向即將出世的兒子，訴說一個嶄新的西班牙。
西班牙佛朗哥獨裁政權結束時，阿莫多瓦正值 26 歲。70 年代後的西班牙電影終於有了重生與舒展自身的機會，乘上了馬德里文化復興運動的浪潮，迎來大鳴大放的時刻，背負起內戰的幽靈，將過去被壓抑、過度沉澱的能量累積，釋放成為衝撞時代的一聲聲巨響。阿莫多瓦拍片也逾四十年之久了，期間他狠狠地青春恣意過，近年則明顯感受到他收斂了以往生猛的力道，但不管是 1980 年的首部長片《佩比、露西、朋》（Pepi, Luci, Bom）灑在一個良家婦女臉上的尿，還是年邁之後的《痛苦與榮耀》（Pain and Glory）展現出對心之虛無的自我懷疑，從猛烈抨擊到沉穩針砭，保持一貫的真摯，都是他對於時代的回應與憂心。
阿莫多瓦看待人與生命，甚至政治與歷史的視角從不扁平，早期快且重的步伐過渡到近期的緩、慢，顯示年歲的增長帶給他看待世界不一樣的思維，而其中最為可貴的更是他與他的電影中，亙古不變的真誠與寬容之心。這次，仍然挾帶希區考克味道、詭譎神秘的弦樂配樂入耳，以及蘊含濃濃西班牙色彩的華麗片頭躍上銀幕，我們便知道阿莫多瓦又帶著他的新作來了。
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《平行母親》（Parallel Mothers）的故事將關注的焦點擺在 1930 年代西班牙內戰時期那些被消失的生命，至少在內容上，阿莫多瓦第一次如此正面直視歷史，所以它不如以往的作品那麼個人化。但就算阿莫多瓦先前的作品常常從自己的生命經驗出發，其中卻總不乏對西班牙政治情勢的看法：暴力、亂倫與遍體鱗傷的變性者⋯⋯反傳統、反宗教的精神隨處可見，常見的「慾望」命題更是對過去佛朗哥時代的質疑與反動──即慾望並不可怕，真正可怕的是噤聲、毫無慾望──近期作品如《沉默茱麗葉》（Julieta）、《痛苦與榮耀》，筆調的猛烈逐漸轉為溫柔，不只反映阿莫多瓦對於生命態度的轉變，更是顯示他在思辨西班牙文化上，依著歷史的更迭，作出不同手段的選擇。
相較以往，現在他更著眼於「人與人之間感情的珍惜」，對於這樣的改變我並不感到可惜或是念舊，因為正是這樣的進程，才得以讓觀眾在阿莫多瓦的電影中辨識出他潛在的獨特印記，無論在形式與內容上帶勁或溫順，他對生命變化萬千本質的認識，對女人生來千頭萬緒的觀察，以及對母親角色韌性的景仰，在他對這些人事物細微的理解裡，始終藏有一份黏膩的柔情。