Pedro Almodóvar, Master of Mystifying Films, Wrote a Book He Can’t Classify

Pedro Almodóvar is widely considered Spain’s greatest living filmmaker, but he sees himself as a writer first — a “fabulist,” in his telling. His extravagant plots took twists that were hard to predict or even pin down. The tale of two men who form a bond looking over two comatose women in “Talk to Her.” The story of a plastic surgeon who operates on a captive man, changing him to a woman against his will in “The Skin I Live In.”

Of his more than 20 feature films, Almodóvar wrote or co-wrote nearly all of them. He had probably spent more days at a writing desk than on a set.

As it turned out, he had been writing many other things, too — short stories, diary entries, a few unclassifiable essays — nearly the entire time he was making films. The tales sat in several mysterious blue folders, collected by his assistant Lola García over the course of the director’s many moves to different apartments in Madrid. In 2022, at the urging of the Spanish literary editor Jaume Bonfill, Almodóvar had a look at what had been saved over the years.

“It was like seeing a dimension of Pedro that I didn’t know,” said Bonfill, adding that the manuscripts they sorted through contained writings the director had composed as a teenager as well as items Almodóvar had seemingly written decades later. The collection, “The Last Dream,” will be published in English on Sept. 24 by HarperVia.

Just what this collection is exactly is as much of a mystery as the folders were. Was this a memoir? (One piece was a journal entry written a couple of years back.) Was it fiction — or sketches of ideas that could be fiction — unfinished stories the director never turned into a film? (There is a tale about Count Dracula joining a monastery in Spain.) Much like with his films, Almodóvar feels little need to clarify his output into any defined genre.