all starts with the representation of Cafe Muller, Pina Bausch. Two women, dressed in fine fabrics nude ethereal, as came from the depths of limbo, twist and collapse while two males mark out their course and hold them in their fall. This is obviously a metaphor for the entire film. Narrative metaphor, because Lydia and Alicia are the two women in a coma, and Marco Begnigno two lovers who will care for them. Aesthetic metaphor, especially because throughout the film art will continue to refer to life, and vice versa, both are indémêlables in the film. If Marco weeps at the sight of Pina Bausch, Caetano Veloso concert is that the shock experienced aesthetic comes from his very life, emotions experienced and shared, but finished devouring love. The splendid sequence of silent fantasy film shoot Benigno likely to be the hero of the film within the film and into the body lying Alicia. What is enjoyable in Talk to Her, is that it portrays characters viewers that art stirs the depths of the soul because it replays their lives and represents them in what 'they have more melancholy and disturbing. What is more beautiful, too, is he plays with pairs of opposites, by destabilizing the borders, which capsized in one another, nesting them to better reveal the falsity of their shares. Male and female, art and life, tenderness and violence, are constantly altered, the values associated with them are destabilized, and thus give rise to new species. Starting with the masculine and feminine, which are the subject of procurement, transfer. From the first field of the film cons field between art and life, we see Marco crying women and men collapsing dark and dedicated the fall. Marco, a man is portrayed as sensitive, emotional, crying at the beauty of things and what they carry as hints of past. Lydia, the bullfighter's sovereign film is a very masculine woman, with angular features, although a rough fiery sensuality, she embodies the values related to bullfighting, soundness, strength, courage, defiance, designed values usual as belonging to the male world. Androgyny is also embodied not only by Lydia but also by Benigno. The latter, despite its appearance of being homosexual and effeminate airs, does not hesitate to enter into a coma and Lydia to make her pregnant. In a beautiful scene of the film, which reveals the constant switching that operates the filmmaker in the characters supposed to represent the characters, we see Lydia, who is fighting a fierce bull and give it the final death blow so ruthless, and frightened out of her house screaming at the sight of a snake . Marco goes into the house to kill the beast with strength and determination, but immediately after the act it was his tears flowing. All images of the film are well made, they seem to be a framework in which the substances will mix, transform, strength giving way to weakness, the bravado with the softness, dance to the inertia, the death life. Beauty the film is born of these attractions to the contrary, this incessant magnetization of opposites. The meaning comes also from the opposition between the recumbent body, inert two women and the movement of speech and of the friendship between two men. The circulation of meaning, stories, looks, energy is the force that binds Talk to Her. For if the inserts of the film clearly define hyphenation narrative and describe the love stories experienced or potential (Marco and Lydia, Benigno and Alicia, Alicia and Marco), some other meetings are also fundamental, but underlying such that the friendship between Marco and Benigno.
The chronology and narrative structure of the film are deliberately fragmented and confusing. The moment the curtain is not the time of this narration. In the film, several inserts indicate the time moments (a few months later, three weeks later, four years earlier, a month later, etc.). The moments of the past are not filmed as flashback but as immersed in a period other, as the beginning of a pristine history, its narrative potential.
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