---
title: "Bitter Christmas"
year: 2026
kind: "film"
canonical: "https://film.one/film/bitter-christmas"
fi1m_score: 64
critics_score: 69
critics_reviews: 18
published: "2026-09-21T01:58:04.372691+00:00"
updated: "2026-09-21T01:58:19.218761+00:00"
region: "MX"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Bitter Christmas (2026)

Directed by Pedro Almodóvar · 1h 51m · RTC B-15 · Drama, Comedy

**Fi1m score: 64** · Critics 69 from 18 reviews

*In a sentence:* Pedro Almodóvar writes a film about a man who cannot write a film, and for an hour nearly proves the point

> Almodóvar’s film about a director who cannot finish a script about a director is handsome, often funny and honest about its maker. It is also slack through the middle and keeps nearly everything it has to say for the last half hour. Bárbara Lennie carries it.

## Synopsis

It is Christmas, and Elsa (Bárbara Lennie) has just lost her mother (Gloria Muñoz). She sees a doctor (Carmen Machi) and does not know what to do with the days. In another strand, set in a different era, Raúl Durán (Leonardo Sbaraglia), a film director, is writing a screenplay about another filmmaker and cannot get it right, so he writes it again, and again. The film moves between the two stories. Around the pair are Mónica (Aitana Sánchez-Gijón), Patricia (Victoria Luengo), Natalia (Milena Smit), Gabriela (Rossy de Palma) and a young man everyone calls Beau (Patrick Criado). What Raúl wants is a finished script. What stands in the way is that the material he is reaching for belongs to somebody else’s life, and to her grief.

## Review

Pedro Almodóvar has made a film about a director who is writing a film about a director, and he has cast himself, in all but name, as the one holding the pen. Raúl Durán (Leonardo Sbaraglia) cannot finish his screenplay. He rewrites it, doubts it, and reaches into a grieving woman’s life for the material he needs. Almodóvar has done this before, most directly in [*Pain and Glory*](https://film.one/film/pain-and-glory) (2019), and he knows we know. *Bitter Christmas* is handsome, often funny and honest about its maker’s failings; it is also slack for a long stretch in the middle, and it saves nearly everything it has to say for the final half hour.

The best of it belongs to Bárbara Lennie. Elsa has lost her mother (Gloria Muñoz) at Christmas, and Lennie plays the weeks after as a woman going through the motions with great care, so that nobody around her has to worry. Carmen Machi has one scene as a doctor and gets more out of it than the script hands her. Rossy de Palma, as Gabriela, walks in and the temperature rises a degree or two, as it has in Almodóvar’s films since the 1980s. Patrick Criado, as the young man called Beau, is loose and amused where everyone else is fretting.

Antxón Gómez builds the rooms in the colours Almodóvar has always liked, reds and greens and blues that no real flat would dare, and Pau Esteve Birba lights them so that the people look slightly more alive than the furniture, which is the right way round. Paco Delgado’s costumes are chosen to sit inside those rooms rather than against them. Teresa Font cuts between the two eras cleanly enough that we always knew where we were; the trouble is that we did not always know why we had moved. Alberto Iglesias’s score is lush and full of strings, and in the quietest scenes it pushes where the picture wanted to be left alone.

The trouble is the frame. Every time Raúl sits down at his desk the film stops being about a woman and her dead mother and starts being about whether a man should write about a woman and her dead mother. That is a real question and Almodóvar means it, but he asks it in dialogue, repeatedly, and for the middle hour the asking replaces the drama. The tagline, “You’re confusing fiction with reality”, is the whole subject in six words, and the script never quite trusts us to have got it.

Here is what we felt. Somewhere past the hour we were bored, and mildly cross about it, because the people on screen were good company and the film kept interrupting them to explain what it was doing with them. Then a Chavela Vargas song arrives, and we were caught off guard and moved, more than the preceding hour had any right to expect. For the length of that song the two stories are in the same feeling, and the film is what it wanted to be all along. It does not last, but the last half hour that follows is far better than what came before, and the self-criticism, when it finally lands, is sharp and aimed squarely at the man behind the camera.

Against his own record this sits below *Pain and Glory*, which turned self-examination into a story with a shape, and well below *Parallel Mothers* (2021), which had no interest in the director at all and was the better for it. In construction it is closer to *Bad Education* (2004), but without the menace. The confession here is sincere; what is missing is a reason for anyone who is not Almodóvar to care about it before the last act. Most critics have been a little warmer than we are, and we understand why: spending time in these rooms with these people is no hardship.

For the faithful, and there are many of us, this is worth the evening: 111 minutes, a 15 certificate, subtitled, with one great performance and one great song. For everyone else, watch the mother and the daughter and forgive the man at the desk when he interrupts. He gets to the point in the end.

*Fi1m score 64, published 21 September 2026.*

## What the critics say

Most critics like Bitter Christmas without being swept up by it. The reviews agree on what it is: Almodóvar writing about a filmmaker writing about a filmmaker, and using the layers to take himself to task over what an artist owes the people whose lives he borrows. Praise gathers around the craft: the art direction, the nested structure, and the performances, with Bárbara Lennie, Rossy de Palma and Patrick Criado singled out.

The reservations cluster around feeling. Many find the meta framing keeps the film at arm’s length, the payoff muted, and what matters held back until the final act. The word familiar recurs, and more than one review says this is one for those invested in the director. The spread is moderate: nobody dislikes it, but The Wrap is warmest, finding the dissolving layers thrilling, while Empire and The Hollywood Reporter sit coolest, one calling it meandering, the other elegant but seldom affecting.

## Straight answers

**Is Bitter Christmas worth watching?**

*Bitter Christmas* is worth watching for Almodóvar's regular admirers, and we scored it 64. It is handsome, often funny and honest about its maker, with a fine performance from Bárbara Lennie as a woman who has just lost her mother, but the middle hour sags while the director at the desk keeps explaining what the film is doing. It is subtitled and runs 111 minutes.

**How long is Bitter Christmas, and what is it rated?**

*Bitter Christmas* runs 1h 51m and is rated B-15 by the RTC in Mexico. It is a drama and comedy film.

**Where can I watch Bitter Christmas in Mexico?**

*Bitter Christmas* is not on any streaming or rental service in Mexico at the moment. It is available in 2 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Bitter Christmas, and is it suitable for children?**

*Bitter Christmas* carries a UK 15 certificate, and it is a drama about grief and a stalled screenplay rather than a violent or frightening film. Our review notes nothing alarming beyond the subject of a mother's death at Christmas, so the certificate reflects adult themes and language rather than anything that would scare. It is not for children, and most teenagers would find it slow.

**How does Bitter Christmas compare to Pain and Glory?**

*Bitter Christmas* and *Pain and Glory* are both Almodóvar films about a director examining himself, and the earlier film is the better of the two. *Pain and Glory* gives its self-examination a story with a shape and a restrained Antonio Banderas at its centre; *Bitter Christmas* asks its questions in dialogue for an hour before the last act finally lands. Start with *Pain and Glory* unless you already know and love this director.

### Reviews we read (18)

- **IndieWire**, David Ehrlich (B+): The critic calls it a fun and twisty meta-drama and satisfying late-career gem in which a filmmaker writes and rewrites a screenplay about another filmmaker. It highlights the playful self-critique and satisfying structure. [Read](https://www.indiewire.com/criticism/movies/bitter-christmas-movie-review-almodovar-1235194803/)
- **Little White Lies**, David Jenkins (4/4/5): The review calls it a sombre, self-lacerating drama on the ethics of storytelling and creative inspiration, praising Almodóvar's refined technique and formal poise in this late-period work. [Read](https://lwlies.com/cannes-film-festival/bitter-christmas-first-look-review)
- **Radio Times** (4/5): The review describes it as Almodóvar’s most introspective film yet, a meta exercise flexing between fiction and reality, praising its visual beauty and exploration of creative spark. [Read](https://www.radiotimes.com/movies/bitter-christmas-review/)
- **The Observer**, Vanessa Thorpe (80/100, inferred): A witty and sensitive mea culpa exploring self-doubt, grief, and the auteur’s struggle, with sweet melancholy rather than bitterness, tributing older women who facilitate artists' lives. [Read](https://observer.co.uk/culture/film/article/bitter-christmas-is-almodovars-mea-culpa)
- **Time Out**, Phil de Semlyen (4/5): The critic sees it as a stylish, spiky meta tragicomedy that turns the lens on the artist, praising its ability to surprise and provoke while exploring boundaries between art and life. [Read](https://www.timeout.com/movies/bitter-christmas-review-2026)
- **Screen Daily** (75/100, inferred): The critic finds the multi-layered, self-conscious drama a return to Almodóvar’s signature world, praising its cunningly crafted exploration of the relationship between artistic creation and life’s messiness. [Read](https://www.screendaily.com/reviews/bitter-christmas-review-pedro-almodovar-muses-on-the-creative-process-in-personal-messy-drama/5215083.article)
- **RogerEbert.com**, Brian Tallerico (70/100, inferred): The critic describes it as a dramedy in a confessional mode about turning life into art, noting it is a minor work but one Almodóvar has earned. Praises performances, especially Bárbara Lennie. [Read](https://www.rogerebert.com/festivals/cannes-2026-the-black-ball-bitter-christmas)
- **Sight and Sound** (70/100, inferred): The critic views the film as an entertaining but lightweight meta exercise that feels like a stopgap, praising its genial self-deprecation where Almodóvar makes himself the joke's target. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/bitter-christmas-pedro-almodovar-makes-himself-butt-joke-slippery-meta-drama)
- **The AV Club**, Rory Doherty (C+): The critic sees it as familiar autofiction that regifts Almodóvar’s self-critical style but doesn’t fully gel until too late. It notes highlights in music, performances and camp elements but finds the whole too pithy and flat. [Read](https://www.avclub.com/bitter-christmas-review)
- **The Guardian**, Peter Bradshaw (60/100, inferred): The critic finds it a complex, slightly muddled auto-metafiction exploring grief, loss, and artistic betrayal, anchored by a musical moment but not as impactful as previous works like Parallel Mothers. [Read](https://www.theguardian.com/film/2026/may/19/bitter-christmas-review-almodovar-cannes-film-festival)
- **The Telegraph**, Robbie Collin (3/5): It's a spry deconstruction of artistic complacency but primarily for fans, clever in how Almodóvar reviews his own shortcomings. [Read](https://www.telegraph.co.uk/films/2026/08/30/pedro-almodvar-lush-meta-drama-bitter-christmas/)
- **Variety**, Guy Lodge (60/100, inferred): Self-referencing like Pain and Glory but lighter, quintessential but not vintage Almodóvar; enjoyable with immaculate art direction but lacks deeper resonance. [Read](https://variety.com/2026/film/reviews/bitter-christmas-review-pedro-almodovar-1236753260/)
- **Vulture** (60/100, inferred): The critic views the lacerating self-portrait as a difficult watch where everything interesting happens in the final act. It finds the self-lacerating late-career reflection intriguing but only barely worthwhile for those invested in the director’s arc. [Read](https://www.vulture.com/article/bitter-christmas-pedro-almodvars-difficult-self-portrait.html)
- **Empire**, Helen O’Hara (50/100, inferred): The critic finds the film a meandering and unfocused affair that touches on familiar themes but ultimately lacks a satisfying ending. They praise Almodóvar's skill with dialogue, noting that spending time with the characters is no hardship. [Read](https://www.empireonline.com/movies/reviews/bitter-christmas/)
- **The Hollywood Reporter**, David Rooney (50/100, inferred): The critic finds Almodóvar’s meta-fiction an elegant but emotionally unyielding rumination on art, ethics and creative cost that is compelling yet seldom affecting. It praises the intricate structure, visual style, strong performances and production design while noting a downbeat tone and muted payoff. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/bitter-christmas-review-pedro-almodovar-1236591236/)
- **The Wrap** (90/100, inferred): The critic describes the film as a labyrinthine, challenging Russian nesting doll of autofiction that grows deeply personal as it interrogates the ethics of borrowing from real lives, culminating in self-criticism aimed at Almodóvar himself. It praises the impeccable craftsmanship, vibrant visuals, and the thrilling way the layers dissolve by the end. [Read](https://www.thewrap.com/creative-content/movies/bitter-christmas-review-pedro-almodovar/)
- **Deadline**, Pete Hammond (70/100, inferred): The critic views the film as minor Almodóvar: a flawed but fascinating exploration of autofiction and creative block that merges two storylines from different eras into a meditation on turning life into art. It praises the cast performances and piercing final-act dialogue while noting the score misses the intimate mood. [Read](https://deadline.com/2026/05/bitter-christmas-review-pedro-almodovar-1236889804/)
- **The Playlist**, Rafa Sales Ross (B-): The critic finds the film a self-reflective tragicomedy that circles familiar Almodóvar obsessions with wit and color but lacks emotional depth due to its meta structure and satire. They praise its visual style, supporting performances including Rossy de Palma and Patrick Criado, and a poignant scene featuring Chavela Vargas. [Read](https://theplaylist.net/bitter-christmas-review-pedro-almodovar-cannes-20260520/)

## Details

- **Director:** Pedro Almodóvar
- **Director:** Pedro Almodóvar
- **Writer:** Pedro Almodóvar
- **Cinematography:** Pau Esteve Birba
- **Editor:** Teresa Font
- **Music:** Alberto Iglesias
- **Production design:** Antxón Gómez
- **Costume design:** Paco Delgado
- **Producer:** Agustín Almodóvar
- **Cast:** Bárbara Lennie as Elsa; Leonardo Sbaraglia as Raúl Durán; Aitana Sánchez-Gijón as Mónica; Victoria Luengo as Patricia; Patrick Criado as Bonifacio (Beau); Milena Smit as Natalia; Quim Gutiérrez as Santi; Rossy de Palma as Gabriela
- **Runtime:** 1h 51m
- **Certificate (RTC):** B-15
- **Release (Mexico):** 28 May 2026
- **Genres:** Drama, Comedy
- **Budget:** $12 million
- **Box office:** $5 million
- **Trailer:** https://www.youtube.com/watch?v=NUvdMKtFXBw

## Where to watch in Mexico

Not streaming, renting or buying in Mexico at the last check.

Also available in: AT, DE. Add `?region=XX` to this URL for another country.

## If you liked this

- *Pain and Glory* (2019), Fi1m 84: Almodóvar’s earlier self-portrait, with a shape this one lacks and Banderas at his quietest — [Fi1m page](https://film.one/film/pain-and-glory.md)
- *8½* (1963), Fi1m 86: Fellini’s director who cannot make his film; the original and still the most honest — [Fi1m page](https://film.one/film/812.md)
- *Adaptation.* (2002), Fi1m 83: A screenwriter writes himself into his own script and the joke turns painful — [Fi1m page](https://film.one/film/adaptation.md)
- *Bergman Island* (2021): Two filmmakers, one island, and a story within a story that quietly takes over
- *Volver* (2006), Fi1m 84: Almodóvar on mothers, daughters and the dead, without a man at a desk — [Fi1m page](https://film.one/film/volver.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/bitter-christmas