Matador is an early Almodovar work that explores the relationship between sex and violence through the medium of bullfighting. It follows a love quadrangle between a retired matador, his repressed student, the matador's lover, and the student's lawyer, as a series of murders takes place in Madrid. Dark comedy ensues in the midst of murder investigations and extremely loud eighties fashions.

The performances make this decidedly odd film work. Assumpta Serna is great as the lawyer, while Antonio Banderas makes an early appearance as her client. Carmen Maura also has a small role, even though her character is somewhat lacking in development. The characters remain convincing even as the plot spins into the out right bizarre.

Some viewers might complain that the film's explicit sex and violence make it little different from an exploitation film, and indeed it opens with a character masturbating to a slasher movie. Furthermore, its commentary on sex and violence at times seems pretentious. However, the film is far more creative and well made than any exploitation film, and is well worth your time.

Diego Montez is a former bullfighter obsessed with videos of violence. Ángel (Antonio Banderas) is one of his students and vows to prove that he's no fag. He tries to rape his neighbor and Diego's girlfriend Eva Soler. With his religious mother's prodding, Ángel confesses the rape to the priest and then to the police. Eva refuses to press charges and then Ángel confesses to murders. He leads the police to the bodies buried near Diego's home. They don't believe him with his fear of blood and an apparent alibi for one of the murders. María Cardenal takes the case as his defense attorney although she is the one who is seen doing one of the killings earlier in the movie. It's a tale of perverse sexual obsessions and murders.

The story telling can be confusing with this Pedro Almodóvar film from his earlier days. It's a young fresh-faced Antonio Banderas and he's quite magnetic. It would have been great to have Banderas as the only main lead and dive into his confused maddening mind. Almodóvar is doing some sexually twisted things. It's pushing the edges of the envelop. It simply needs to be clearer and the more Banderas the better.

The connection between sex and death is not a novel one. Elizabethan poetry would occasionally use the latter as a metaphor for the former. Pedro Almodóvar's sixth feature is about three people who have erased the line between the two: Nacho Martinez, a matador gored in the ring, who now teaches students on the art; Antonio Banderas, one of his pupils; and Assumpta Serna, a lawyer defending Banderas who is charged with raping and killing two girls.

In other words, it's one of Almodóvar's movies about the weird kinks of the world. This time, however, he is not concerned with the people at the edge of Spanish society, but at the center of the normal world... assuming there is such a thing. We are all weird, we all act outside the norms, and the people we respect can be the most bizarre.

It's rather slow-moving for one of his movies, probably because this is not one of his shock comedies - although there are comic elements. Visually, it is sumptuous, with a focus on colors, particularly bright reds that draw one's eyes. Miss Serna is a sharp dresser, and she wears a cape in several scenes, which she whirls like a bullfighter going in for the kill.

Is Almodóvar decrying bullfighting? Or in favor of consensual activity of whatever sort? Has he simply presented his bizarre story, and left his audience to draw the moral conclusions it chooses? Or is this simply the sort of story he likes to tell? I think the last is true, but there's nothing simple about it.