NYFF 2023 Review: Out on the Range for Almodóvar’s Cockeyed Western Short, ‘Strange Way of Life’

Faithful to genre tropes without betraying the iconic director’s flair for melodrama, Pedro Almodóvar’s “Strange Way of Life” delights in its contradictions. Clocking in at under a half-hour (excluding credits), this delightful, cockeyed Western screened at the New York Film Festival on Saturday, representing Almodóvar’s first foray out on the range for just his second English-language feature. It’s somehow both operatic and intimate. The film contains an impeccable set design that suggests the charming yet disorienting claustrophobia of an off-Broadway two-hander. And it never hurts that the two hands are played by movie stars (Ethan Hawke and Pedro Pascal) with such effortless charisma and palpable sexual chemistry. It’s a wonder they haven’t entered the world of Almodóvar earlier.

Despite its abbreviated run-time, “Strange Way of Life” is an expansive cinematic undertaking. Original in its conceit. But also willing to bow to Western filmmaking trailblazers such as John Ford, Sam Peckinpah, and Howard Hawks. Even Jimmy Stewart gets a shout-out when Silva (Pascal) dons an identical green jacket to the one Stewart wore in Anthony Mann’s “Bend of the River” (1952). But, make no mistake. This is no mere imitation of studio-era classics. It’s a giddy original that wastes none of its limited time with needless exposition introducing Jake (Hawke) and Silva. Jake’s the sheriff of a small town, and Silva pays him a surprise visit. It’s not yet made clear why Silva’s there, but Jake thinks he knows. After some stew and wine, they end up in Jake’s bed. And Silva wakes up the next morning without pants, needing to borrow Jake’s underwear.

The tryst is supplemented with flashbacks to their younger selves. Handsome cowboys more interested in each other than the women among them. In a direct callback to Peckinpah’s “The Wild Bunch” (1969), young Jake and Silva shoot holes into barrels of wine, opening their mouths to drink it like children on a snow day. The love-drunk men then start to make out. They gorge on the red drink and swallow each others’ faces. Eventually, they roll around on the ground while the girls walk away. Older Jake initially diminishes the occasion (“We were drinking”) when Silva reminds him, but in a revealing moment of reflection, he smirks, recalling it fondly.

Credit to all the artistic collaborators (Alberto Iglesias’ dynamic, swooning score, José Luis Alcaine’s dreamy cinematography) for nailing the overall mood, which is never off-pitch. It’s orny when it wants to be, violent when absolutely necessary, and generous all the time. On October 6, Sony Pictures Classics will release “Strange Way of Life” in theaters nationwide, playing alongside Almodóvar’s first English-language short, “The Human Voice” (2020), starring Tilda Swinton. Two Almodóvar joints for the price of one. That’s a deal even the casual fan should take. But viewing “Strange Way of Life” in its isolated, economical pain and glory is a meal disguised as a snack.

Rising above the trope of a sexy cowboy bromance, Silva’s a man with needs beyond the carnal. The plot comes full circle when he tries to cash in a favor Jake refuses to honor. In another director’s hands, the narrative might slip towards a predictable coda, trending towards coy and moral. Thankfully, Almodóvar is the man for the job. And his view of the West pays tribute to his forebears while leaving his indelible, lipstick-red stamp on this sleepy, once-ascendant Hollywood genre.

“Strange Way of Life” is currently playing at the New York Film Festival. The festival goes from September 29th – October 15th. Join us for continual coverage.