Pina Bausch's "Cafe Muller," to Purcell's "The Fairy Queen" is certainly a "classy" opening for a movie. When I saw "Hable con ella" again, I realized how much more it is than a kind of intellectual special effect: it is an integral, significant part of the whole work. Pedro Almodovar's "Talk to Her," finally opening in the US, is not only the best film I've seen this year, but it's also among my most memorable recent experiences in any art form. Combining brilliant writing, an unconventional and risky but eventually triumphant "broken-line" narrative, perfect photography, modern dance, affecting classical and pop music, "Talk to Her" is complex, fascinating, thought-provoking, heart-warming and satisfying, with a slow-burning catharsis that may stay with you for a long time. And, on top of all that, I really like it. Like it enough to follow the first viewing in London last summer with another at a San Francisco preview today. What happened at the second screening reminded me of a Dennis Potter experience: revisiting something that demands to be seen again ("Dreamchild" or "The Singing Detective") and discovering a hundred things that went by me unnoticed before. Such seemingly random scenes as the "Cafe Muller" sequence and Purcell's music "making sense" a couple of hours later; casual references to people and events becoming cohesive and illuminating; small roles coming to the fore in retrospect. Here comes the deadly question: "So what is about?!" Sigh. You would be so much better off if you went to find that out from Almodovar himself. It is "about" people, both conscious and in coma, but don't let that fool you. Just sit back and let their stories come to you. The point is not that the film's many surprises would be ruined if you knew the story (although there is that), but rather imagine if you had studied the Cliff Notes on "Hamlet" before you saw it for the first time. So much better if you do that digest and interpretation yourself. "Talk to Her" has the complexity and richness of a stage play, so don't let sound bites and sensationalist trailers mislead you. Also, there will be reviews and word of mouth that it's just a weird movie, not very good. That's fine. You will know how much you get out of it. The cast, even for Almodovar, who has a special talent for finding unusual, brilliant actors, is amazing. Javier Camara is Benigno, the nurse who cares for Alicia (Leonor Watling). Dario Grandinetti, from Argentina, is Marco, a journalist, who falls in love with Lydia, a top female bullfighter (Rosario Flores). And that's all I will say. For the rest, let Almodovar talk to you. Janos Gereben/SF [log in to unmask]