An examination on the effect of Franco-era religious schooling and sexual abuse on the lives of two longtime friends.An examination on the effect of Franco-era religious schooling and sexual abuse on the lives of two longtime friends.An examination on the effect of Franco-era religious schooling and sexual abuse on the lives of two longtime friends.
- Nominated for 1 BAFTA Award
- 16 wins & 42 nominations total
Nacho Pérez
- Ignacio
- (as Ignacio Pérez)
Raúl García Forneiro
- Enrique
- (as Raúl Gª Forneiro)
Agustín Almodóvar
- Limpiador Piscina
- (uncredited)
Pedro Almodóvar
- Limpiador Piscina
- (uncredited)
Robert Forcadell
- Man in public
- (uncredited)
Luis Lobos Negros
- Motero ochentero
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaGael García Bernal fired off an angry riposte to New York Times reporter Lynn Hirschberg after she claimed that he had fallen out with Pedro Almodóvar over filming the explicit homosexual love scenes in the film. Bernal wanted it on record that he had had absolutely no reservations about taking the role.
- GoofsWhen Burenguer declines Ignacio's story over the phone, he says that he wouldn't be accepting it for "Short Stories of the 80's." According to his story, it would have had to been at least 1977, three years before the 1980s, let alone before a compilation of stories from the 1980s would be released.
- Alternate versionsAn R-rated version of the film that trims or cuts some scenes was released on DVD, though the original NC-17 one is also available in the exact same format.
- SoundtracksQuizás, Quizás, Quizás
Written by Osvaldo Farrés
Published by Peer International Corporation (BMI)
(c) 1947 by Caribbean Music Co. Ltd
Performed by Sara Montiel
By the license from Dpto. de Productos Especiales de (p) EMI Odeon, S.A., Madrid, España, 2003
Featured review
Spanish Film = Superb
Bad Education is an interesting and dark crime film by Pedro Almodovar. This film has many layers and various dimensions of a story; stories of obsession, role-playing, and revenge. Almodovar's mis-en-scene was the excellent use of bright colors which helped the scenes pop from the screen. These colors were used as a vibrant explosion that helped in the dramatic effect of the stories this film presented. He also used excellent cinematography to lead his audience into this mysterious, bizarre world where graphic simulation of sexual acts was used. When viewing this film, the audience will notice that it is impossible not to get lost in the story played by the characters, because Almodovar augments the width of the image to where the audience will not notice the dimensions of fiction and reality.
As a viewer of this film, I began to notice several themes. The first theme I noticed was the theme of indifferent attitudes toward women because there were no significant women's parts or roles played in this film, besides the role played in drag. Another theme is that of false identity - the movie's present tense is the 1980s, where a film director Enrique is searching desperately for a new project, hoping to find it by clipping through newspapers, when a young actor comes into his office with a story he's written. The young actor claims to be Ignacio, the boy Enrique fell in love with while they were in a Roman Catholic boarding school together. Although Enrique wanted to believe it to be true, he knew that something was not right. Enrique would eventually find out that Ignacio was not who he thought he was but played with the thought anyway; the theme of falling in love was also prominent in this film as it was shown - the Priest falls in love with Ignacio and the love between two young boys.
In the end, as a reviewer, I enjoyed all the different art forms that this film presented. The art of mis-en-scene, the art of realism versus fictional and the art of love.
As a viewer of this film, I began to notice several themes. The first theme I noticed was the theme of indifferent attitudes toward women because there were no significant women's parts or roles played in this film, besides the role played in drag. Another theme is that of false identity - the movie's present tense is the 1980s, where a film director Enrique is searching desperately for a new project, hoping to find it by clipping through newspapers, when a young actor comes into his office with a story he's written. The young actor claims to be Ignacio, the boy Enrique fell in love with while they were in a Roman Catholic boarding school together. Although Enrique wanted to believe it to be true, he knew that something was not right. Enrique would eventually find out that Ignacio was not who he thought he was but played with the thought anyway; the theme of falling in love was also prominent in this film as it was shown - the Priest falls in love with Ignacio and the love between two young boys.
In the end, as a reviewer, I enjoyed all the different art forms that this film presented. The art of mis-en-scene, the art of realism versus fictional and the art of love.
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- alex1975-714-592858
- May 5, 2010
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Details
- Release date
- Country of origin
- Official site
- Languages
- Also known as
- Kịch Bản Sát Nhân
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $5,000,000 (estimated)
- Gross US & Canada
- $5,284,284
- Opening weekend US & Canada
- $147,370
- Nov 21, 2004
- Gross worldwide
- $40,432,275
- Runtime1 hour 46 minutes
- Sound mix
- Aspect ratio
- 2.35 : 1
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