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The Skin I Live In

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The paper intends to explore the relationship between the intertexts of Almodóvar’s film The Skin I Live In, such as the works of Louise Bourgeois and the classical images of the reclining nude that line the walls of Robert’s mansion, and how these intertexts are used to express Vera/Vincente’s identity and sexuality. A theme in many of Almodóvar’s film has been this belief in the ability of art to express human experience and emotions in a way that language cannot. In many instances art is imitating life, and life is imitating art. In the case of The Skin I Live In, Vera/Vincente uses the works of Louise Bourgeois, who’s artistic identity revolves around the issues of memory and trauma, as a medium for holding on to his own identity, while

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