{"id":683,"date":"2024-06-23T08:01:53","date_gmt":"2024-06-23T06:01:53","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=683"},"modified":"2024-06-24T09:05:10","modified_gmt":"2024-06-24T07:05:10","slug":"femmes-au-bord-de-la-crise-de-nerfs-pedro-almodovar-1988","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=683","title":{"rendered":"Femmes au bord de la crise de nerfs, Pedro Almod\u00f3var, 1988"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-dailymotion wp-block-embed-dailymotion\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Femmes au bord de la crise de nerfs Bande-annonce (EN)\" frameborder=\"0\" width=\"950\" height=\"534\" src=\"https:\/\/geo.dailymotion.com\/player.html?video=x8nq0os&#038;\" allowfullscreen allow=\"autoplay; fullscreen; picture-in-picture; web-share\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Pedro Almod\u00f3var, Carmen Maura, Antonio Banderas, Julieta Serrano, Rossy de Palma, com\u00e9die f\u00e9ministe, vaudeville, Madrid<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">appartement, terrasse, monument, a\u00e9roport, jardin suspendu<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes_au_bord_de_la_crise_de_nerfs_2-1024x576.webp\" alt=\"\" class=\"wp-image-741 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes_au_bord_de_la_crise_de_nerfs_2-1024x576.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes_au_bord_de_la_crise_de_nerfs_2-300x169.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes_au_bord_de_la_crise_de_nerfs_2-150x84.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes_au_bord_de_la_crise_de_nerfs_2-jpg.webp 1658w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>(d&rsquo;apr\u00e8s wikipedia)<\/em><\/p>\n\n\n\n<p><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Vaudeville\">Vaudeville<\/a> moderne, le film librement inspir\u00e9 de <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Voix_humaine_(th%C3%A9%C3%A2tre)\">La Voix humaine<\/a><\/em>, une pi\u00e8ce de th\u00e9\u00e2tre de 1930 de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jean_Cocteau\">Jean Cocteau<\/a>, qui est constitu\u00e9e du long <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Monologue\">monologue<\/a> t\u00e9l\u00e9phonique d&rsquo;une femme d\u00e9laiss\u00e9e par son amant. Almod\u00f3var veut initialement en faire l&rsquo;adaptation, mais celle-ci s&rsquo;av\u00e8re trop courte pour en faire un long m\u00e9trage<sup><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Femmes_au_bord_de_la_crise_de_nerfs#cite_note-Allo-secrets-4\">2<\/a><\/sup>. Pour son sc\u00e9nario, il imagine alors ce que pourrait avoir v\u00e9cu ce personnage f\u00e9minin durant les deux jours qui pr\u00e9c\u00e8dent la rupture dont parle la pi\u00e8ce de Cocteau.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Le <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Tournage_(audiovisuel)\">tournage<\/a> se d\u00e9roule en <a href=\"https:\/\/fr.wikipedia.org\/wiki\/1987_au_cin%C3%A9ma\">1987<\/a> \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Madrid\">Madrid<\/a>, en partie dans les studios de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Barajas_(Madrid)\">Barajas<\/a>. L&rsquo;appartement de Pepa, la ma\u00eetresse h\u00e9ro\u00efne, est situ\u00e9 dans l&rsquo;histoire au septi\u00e8me \u00e9tage du n<sup>o<\/sup>\u00a07 de la rue Montalb\u00e1n, et celui de Luc\u00eda, l&rsquo;\u00e9pouse d\u00e9laiss\u00e9e, au 38 de la rue Almagro. Depuis son balcon, Pepa a une vue sur la <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Gran_V%C3%ADa_(Madrid)\">Gran V\u00eda<\/a> et l&rsquo;<a href=\"https:\/\/fr.wikipedia.org\/wiki\/%C3%89difice_Telef%C3%B3nica\">\u00e9difice Telef\u00f3nica<\/a>.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"565\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/274317-1-1024x565.webp\" alt=\"\" class=\"wp-image-739 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/274317-1-1024x565.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/274317-1-300x165.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/274317-1-150x83.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/274317-1-jpg.webp 1280w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"575\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes1-1-1024x575.webp\" alt=\"\" class=\"wp-image-742 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes1-1-1024x575.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes1-1-300x169.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes1-1-150x84.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/femmes1-1.webp 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Pedro Almod\u00f3var fait lui-m\u00eame des clins d&rsquo;\u0153il \u00e0 son propre film dans <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/%C3%89treintes_bris%C3%A9es\">\u00c9treintes bris\u00e9es<\/a><\/em> en 2009, o\u00f9 le personnage principal tourne un film qui reprend ou d\u00e9tourne certains d\u00e9tails de <em>Femmes au bord de la crise de nerfs<\/em>, comme la pr\u00e9paration d&rsquo;un <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Gaspacho\">gaspacho<\/a> avec des <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Hypnotique\">somnif\u00e8res<\/a>. Le r\u00e9alisateur a aussi r\u00e9alis\u00e9 la m\u00eame ann\u00e9e le court m\u00e9trage <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Conseill%C3%A8re_anthropophage\">La Conseill\u00e8re anthropophage<\/a><\/em>, qui est une autre sc\u00e8ne de ce <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Film_contenant_un_film\">faux film<\/a>, o\u00f9 il est en fait cr\u00e9dit\u00e9 au g\u00e9n\u00e9rique sous le nom de son personnage\u00a0: Mateo Blanco.<\/p>\n\n\n\n<p>En 2020, Almod\u00f3var a fini par r\u00e9aliser le moyen m\u00e9trage <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Voix_humaine_(film,_2020)\">La Voix humaine<\/a>,<\/em> adaptation de la nouvelle de Cocteau qui lui a inspir\u00e9 <em>Femmes au bord de la crise de nerfs<\/em>, avec <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Tilda_Swinton\">Tilda Swinton<\/a> dans le r\u00f4le principal.<\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Analyse avec extraits du film<\/strong><\/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 title=\"Ma classe au cin\u00e9ma | \u00ab Femmes au Bord de la Crise de Nerfs \u00bb de Pedro Almod\u00f3var (1988)\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/RuTj2lVGmkc?start=292&#038;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<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Pedro Almod\u00f3var, Carmen Maura, Antonio Banderas, Julieta Serrano, Rossy de Palma, com\u00e9die f\u00e9ministe, vaudeville, Madrid appartement, terrasse, monument, a\u00e9roport, jardin suspendu _ R\u00e9sum\u00e9 (d&rsquo;apr\u00e8s wikipedia) Vaudeville moderne, le film librement inspir\u00e9 de La Voix humaine, une pi\u00e8ce de th\u00e9\u00e2tre de 1930 de Jean Cocteau, qui est constitu\u00e9e du long &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=683\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0Femmes au bord de la crise de nerfs, Pedro Almod\u00f3var, 1988\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-683","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/683","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=683"}],"version-history":[{"count":5,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/683\/revisions"}],"predecessor-version":[{"id":743,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/683\/revisions\/743"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=683"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=683"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=683"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}