Rather, it's presented simply as a means to deliver internal monologues and punchlines — verbal references to mood, rather than aesthetic embodiments of it. Sometimes, the movie's disconnects are minor — why does Margot's imagination feature a Wilhelm scream as an Easter egg when one of ...
which feels too real and sincere to easily rub shoulders with some of the campier extremes outlined above, while the entire early output of Pedro Almodovar, especially the absurdist “Women on the Verge of a Nervous Breakdown” takes its self-aware archness in a more overtly comedic direction...