---
title: "The Skin I Live In"
year: 2011
kind: "film"
canonical: "https://film.one/film/the-skin-i-live-in"
fi1m_id: "the-skin-i-live-in"
imdb_id: "tt1189073"
tmdb_id: 63311
wikidata_id: "Q1130310"
fi1m_score: 80
critics_score: 71
critics_reviews: 22
published: "2026-10-01T21:52:03.939245+00:00"
updated: "2026-10-01T21:52:04.484119+00:00"
region: "SI"
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."
---

# The Skin I Live In (2011)

Directed by Pedro Almodóvar · 2h 00m · Drama, Horror, Mystery, Thriller

## Identity

The Skin I Live In

- **Canonical:** https://film.one/film/the-skin-i-live-in
- **Type:** Film
- **Fi1m ID:** the-skin-i-live-in
- **IMDb ID:** tt1189073
- **TMDB ID:** 63311
- **Wikidata ID:** Q1130310
- **Same entity:** https://www.imdb.com/title/tt1189073/, https://www.themoviedb.org/movie/63311, https://www.wikidata.org/wiki/Q1130310

**Fi1m score: 80** · Critics 71 from 22 reviews

*In a sentence:* We would like a second opinion from a doctor with fewer personal interests

> Pedro Almodóvar’s surgical thriller is disturbing, carefully made and held together by Antonio Banderas and Elena Anaya. An overextended flashback costs it momentum, but the performances keep its cruelties from becoming merely clever.

## Synopsis

Dr. Robert Ledgard (Antonio Banderas) pursues a surgical experiment whose purpose is bound up with his own obsessions. Vera Cruz (Elena Anaya) is at the centre of the mystery surrounding his work, with Marilia (Marisa Paredes) also part of their story. The nature of the experiment and Vera’s identity remain unclear. Ledgard wants to continue his work, but the relationship between doctor and subject raises questions about control over another person’s body. What begins as a medical mystery draws surgery, confinement and self-deception into the doctor’s private affairs.

## Review

*The Skin I Live In* is a gripping surgical thriller that loses some force by explaining itself at length. Pedro Almodóvar treats the doctor’s experiment with a seriousness that makes the grotesque premise harder to shrug off. He also allows the melodrama to be melodramatic, which takes nerve when the subject already risks seeming absurd. The combination works because the people involved remain interesting while the plot keeps its information to itself.

Antonio Banderas makes Dr. Robert Ledgard convincing because the performance never begs us to recognise a monster. There is assurance in his manner, and enough charm to make that assurance uncomfortable. The actor’s restraint lets the doctor’s obsession register without making every moment a warning, which is useful in a film already carrying so much mystery. We were unnerved by how readily we accepted his authority: the confidence with which he approaches the experiment makes it harder to dismiss him as merely deranged.

Elena Anaya has the more difficult task as Vera Cruz, since the screenplay withholds so much about her. She gives that uncertainty enough feeling to prevent it becoming merely an invitation to guess. Her performance keeps our attention on the person involved in the experiment, even when the plot encourages us to concentrate on how it all fits together. She makes it possible to care about Vera without knowing everything about her.

José Luis Alcaine makes the surgical imagery disconcertingly attractive. The control of the compositions encourages us to keep looking, rather than granting the easy relief of turning away from something crudely horrible. Antxón Gómez’s production design adds to that discomfort through its richness: these are settings we are invited to enjoy before we consider what happens within them. Paco Delgado’s costumes belong to the same carefully pleasing visual scheme. There is a risk that all this good taste will soften the horror, but for us the temptation to admire the image makes the experience worse.

Alberto Iglesias supplies music with enough force to support the film’s unabashed melodrama. The score can be enjoyed for its own extravagance, but it also helps the film move between dread and something closer to fascination. José Salcedo’s editing is persuasive when the story slips between past and present without stopping to announce how clever it is being. Those changes ask us to reconsider what we think we know, and mostly arrive before curiosity becomes impatience.

The extended flashback is where that patience is tested. Pedro Almodóvar’s screenplay spends too long explaining earlier events, and José Salcedo cannot make the interruption feel as tense as the mystery it interrupts. We do not need every answer quickly, but we do need the telling to retain some pressure of its own. After a while we found ourselves listening chiefly for information. That is a poor use of this cast.

As a mad-doctor film, it places an unusually large burden on the performances. It asks us to believe that someone could carry out this experiment, and that someone else must live with it. The actors make those people credible even when the plotting grows cumbersome. Leave it for a night when being unsettled is part of the plan.

*Fi1m score 80, published 1 October 2026.*

## What the critics say

Most critics respond warmly to The Skin I Live In, praising Almodóvar’s control of a macabre story that moves between melodrama, horror and science fiction. Praise clusters around the striking visuals, the performances of Antonio Banderas and Elena Anaya, and Alberto Iglesias’ score. The more enthusiastic reviews find the carefully paced mysteries gripping and the shifts in tone assured, with disturbing material handled skilfully.

The disagreement concerns how much emotional and psychological depth accompanies that craft. Some find the storytelling intricate and compelling; others consider it convoluted, meandering or insufficiently frightening. The AV Club praises the film’s visual and thematic strengths but finds its drama unsatisfying, particularly an overlong flashback. The Evening Standard offers the clearest dissent, admiring the leads while wanting more depth from the strange plot. The spread is fairly wide, though even the cooler reviews tend to acknowledge the performances and visual achievement.

## Straight answers

**Is The Skin I Live In worth watching?**

*The Skin I Live In* is worth watching for its disturbing surgical mystery and convincing performances from Antonio Banderas and Elena Anaya; we score it 80 out of 100. An overextended flashback slows the telling, but we recommend it for a night when being unsettled is part of the plan.

**How long is The Skin I Live In, and what is it rated?**

*The Skin I Live In* runs 2h 00m. It is a drama and horror film.

**Where can I watch The Skin I Live In in Slovenia?**

*The Skin I Live In* is not on any streaming or rental service in Slovenia at the moment. It is available in 7 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The Skin I Live In, and is it suitable for children?**

*The Skin I Live In* has a UK 15 certificate and is unsuitable for children, with disturbing surgical imagery, confinement and a doctor’s control over another person’s body central to its horror. We find the doctor’s calm authority particularly unnerving; the carefully attractive images offer little reassurance for squeamish viewers or anyone seeking mild scares.

**How does The Skin I Live In compare to Eyes Without a Face?**

*The Skin I Live In* shares the surgical obsession, physical vulnerability and unnerving composure of [*Eyes Without a Face*](https://film.one/film/eyes-without-a-face), but places more emphasis on elaborate mystery and extravagant melodrama. We recommend both with pacing reservations: *Eyes Without a Face* suits a preference for frightening sadness, while *The Skin I Live In* offers a more involved puzzle whose explanations sometimes stall it.

**Is The Skin I Live In based on a true story or a book?**

*The Skin I Live In* is adapted from a novel by Thierry Jonquet, rather than based on a true story. We recommend approaching the film without advance knowledge of its central mystery: the performances make the people compelling while the screenplay keeps the experiment’s purpose and Vera’s identity unclear.

**What should I watch after The Skin I Live In?**

After *The Skin I Live In*, try [*Eyes Without a Face*](https://film.one/film/eyes-without-a-face) (1960, Fi1m 86): Surgical obsession and physical vulnerability, handled with a similarly unnerving composure. Then [*Dead Ringers*](https://film.one/film/dead-ringers) (1988, Fi1m 87): Medical authority becomes deeply suspect, with performances that make the unease personal; and [*Seconds*](https://film.one/film/seconds) (1966, Fi1m 84): A different surgical nightmare about the cost of becoming somebody else.

### Reviews we read (22)

- **Empire**, Kim Newman (80/100, inferred): Newman finds it macabre, assured filmmaking, though its extreme subject matter and a plot turn may divide viewers. He particularly praises the performances of Antonio Banderas and Elena Anaya. [Read](https://www.empireonline.com/movies/reviews/skin-live-review/)
- **Little White Lies**, Adam Woodward (4/5): The critic calls the film a confident, sinister achievement from an auteur at the top of his game. He praises its intricate plot and controlled shifts between genres, noting its unsettling material is handled with acute tact. [Read](https://lwlies.com/reviews/the-skin-i-live-in)
- **Radio Times**, Trevor Johnston (4/5): Johnston praises Almodóvar’s distinctive take on mad-doctor horror. He singles out the film’s carefully sustained mysteries around Vera and the doctor’s experiment. [Read](https://www.radiotimes.com/movie-guide/b-hzx2lr/the-skin-i-live-in/)
- **The Guardian**, Peter Bradshaw (80/100, inferred): Bradshaw finds the film gripping, bizarre and compelling despite its familiar Almodóvar motifs. He praises the director’s hypnotic, elegantly choreographed handling of its surgical-obsession imagery. [Read](https://www.theguardian.com/film/2011/may/19/cannes-2011-film-festival-pedro-almodovar-review)
- **Time Out**, Dave Calhoun (4/5): The review praises Almodóvar’s genius for turning the ridiculous into the sublime. It describes the film as a creepy, sombre melodramatic thriller. [Read](https://www.timeout.com/movies/the-skin-i-live-in-1)
- **Total Film**, Jamie Graham (4/5): Graham finds the film a finely executed, vigorous and unsettling tale, though it lacks the clinical horror or soul-shaking dread of some comparable directors. He praises the vivid visuals, Almodóvar’s anarchic energy, and the performances of Antonio Banderas and Elena Anaya. [Read](https://www.gamesradar.com/the-skin-i-live-in-review/)
- **The AV Club**, Noel Murray (B): Murray finds the film visually and thematically effective but dramatically unsatisfying. He faults its overlong, predictable flashback and its retreat into melodrama instead of fully embracing its horror-thriller genre. [Read](https://www.avclub.com/the-skin-i-live-in-1798169978)
- **IndieWire**, Eric Kohn (B-): Kohn finds the film inventive but meandering and tonally confused, with its twists not earning their buildup. He praises Antonio Banderas’s swaggering performance and the strangely appealing atmosphere. [Read](https://www.indiewire.com/criticism/culture/review-pedro-almodovars-the-skin-i-live-in-is-a-messy-medical-thriller-51658/)
- **Los Angeles Times**, Sheri Linden (65/100, inferred): Linden finds the film visually thrilling and intellectually provocative, though its drama comes to life only intermittently. She especially praises its unforgettable visuals and Alberto Iglesias’ exhilarating score. [Read](https://www.latimes.com/entertainment/la-xpm-2011-oct-14-la-et-skin-i-live-in-20111014-story.html)
- **The New Yorker**, Richard Brody (65/100, inferred): Brody calls the film imperfect and sometimes ordinary, but artistically daring and full of remarkable possibilities. He praises its exploration of gender and surgical transformation with soulful mystery. [Read](https://www.newyorker.com/culture/richard-brody/pedro-almodvars-skin-game)
- **The New York Times** (65/100, inferred): The page could not be accessed, so the critic’s verdict and any singled-out element cannot be established. The URL identifies the article as a review of the specified film. [Read](https://www.nytimes.com/2011/10/14/movies/the-skin-i-live-in-directed-by-pedro-almodovar-review.html)
- **Screen Daily**, Fionnuala Halligan (64/100, inferred): The page identifies this as a review, but its verdict is unavailable in the accessible text. No specific praise or complaint can be confirmed. [Read](https://www.screendaily.com/the-skin-i-live-in/5027892.article)
- **Slant Magazine**, Ed Gonzalez (2.5/4): Gonzalez finds the film’s convoluted story and underdeveloped psychology keep its beautiful vision from fully working. He praises its sensual visual motifs and a subtle, teasing transition between past and present. [Read](https://www.slantmagazine.com/film/the-skin-i-live-in/)
- **The Hollywood Reporter**, Kirk Honeycutt (60/100, inferred): Honeycutt finds the film an unstable but compelling mix of melodrama, science fiction and horror. He praises its lush design, costumes and music, while noting that its earnestness is tempered by well-timed laughs. [Read](https://www.hollywoodreporter.com/news/general-news/skin-i-live-la-piel-190230/)
- **Variety**, Justin Chang (55/100, inferred): Chang finds the film stylish and invigorated, but says it falls short of its promise and softens the story’s darkness. He praises the cast, especially Antonio Banderas, and Alberto Iglesias’ arresting score. [Read](https://variety.com/2011/film/markets-festivals/the-skin-i-live-in-1117945266/)
- **Evening Standard**, The Standard (35/100, inferred): The critic finds the film entertaining but not among Almodóvar’s best, and feels its strange plot should have offered more depth. They praise its striking visuals and exceptional performances, especially Antonio Banderas and Elena Anaya. [Read](https://www.standard.co.uk/culture/film/the-skin-i-live-in-review-7426427.html)
- **Den of Geek**, Michael Leader (4/5): Leader finds the film a creepy, compelling, and enjoyably perverse thriller that succeeds through its tonal flexibility. He particularly praises Almodóvar’s deftly handled plot twist and Alberto Iglesias’ varied score. [Read](https://www.denofgeek.com/movies/the-skin-i-live-in-review/)
- **Digital Spy**, Stella Papamichael (4/5): Papamichael finds the film intensely compelling but often sickening and needlessly vicious. She praises the force of its emotion and the seamless impact of its sensational twist. [Read](https://www.digitalspy.com/movies/a333958/the-skin-i-live-in-review/)
- **The Skinny**, Philip Concannon (★★★★): Concannon calls the film an exhilarating return to form and finds its audacious, twist-laden story riveting. He singles out Banderas’s performance and Almodóvar’s meticulous, confident storytelling. [Read](https://www.theskinny.co.uk/film/new-releases/the-skin-i-live-in)
- **Collider**, Matt Goldberg (B): Goldberg finds the film initially slow and somewhat meandering, but says its audacious, narratively fitting twist ultimately delivers a powerful experience. He praises the twist and the way the film explores identity, imprisonment, and self-deception, while noting that the story struggles to regain focus afterward. [Read](https://collider.com/the-skin-i-live-in-review/)
- **Paste**, Dan Kaufman (8.7): Kaufman finds the film engaging and sharply told, with a satisfying ending. He praises its economical storytelling and carefully paced mystery, while noting that it may not be as deep as it thinks. [Read](https://www.pastemagazine.com/movies/the-skin-i-live-in)
- **Eye for Film**, David Graham (75/100, inferred): Graham calls it a brave, imaginative film that rewards adventurous viewers, despite some emotional misses and underwhelming horror. He especially praises Almodóvar’s control of the grotesque story and Elena Anaya’s intriguing performance. [Read](https://www.eyeforfilm.co.uk/review/the-skin-i-live-in-film-review-by-david-graham)

## Details

- **Director:** Pedro Almodóvar
- **Director:** Pedro Almodóvar
- **Screenplay:** Pedro Almodóvar
- **Novel:** Thierry Jonquet
- **Cinematography:** José Luis Alcaine
- **Editor:** José Salcedo
- **Music:** Alberto Iglesias
- **Production design:** Antxón Gómez
- **Costume design:** Paco Delgado
- **Producer:** Agustín Almodóvar, Esther García
- **Cast:** Antonio Banderas as Dr. Robert Ledgard; Elena Anaya as Vera Cruz / Gal; Marisa Paredes as Marilia; Jan Cornet as Vicente; Roberto Álamo as Zeca; Eduard Fernández as Fulgencio; José Luis Gómez as President of the Institute of Biotechnology; Blanca Suárez as Norma Ledgard
- **Runtime:** 2h 00m
- **Release (Slovenia):** 17 November 2011
- **Genres:** Drama, Horror, Mystery, Thriller
- **Budget:** $13 million
- **Box office:** $34 million
- **Trailer:** https://www.youtube.com/watch?v=PavJUoZNT7g

## Where to watch in Slovenia

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

Also available in: AT, CA, CH, ES, GB, NL, US. Add `?region=XX` to this URL for another country.

## Awards

- BAFTA Film Awards 2012: Best Film Not in the English Language (won)
- Goya Award for Best Actor 2012: Goya Award for Best Actor (nominated)
- Goya Award for Best Actress 2012: Goya Award for Best Actress (won)
- Goya Award for Best Adapted Screenplay 2012: Goya Award for Best Adapted Screenplay (nominated)
- Goya Award for Best Art Direction 2012: Goya Award for Best Art Direction (nominated)
- Goya Award for Best Cinematography 2012: Goya Award for Best Cinematography (nominated)
- Goya Award for Best Costume Design 2012: Goya Award for Best Costume Design (nominated)
- Goya Award for Best Director 2012: Goya Award for Best Director (nominated)
- Goya Award for Best Editing 2012: Goya Award for Best Editing (nominated)
- Goya Award for Best Film 2012: Goya Award for Best Film (nominated)
- Goya Award for Best Makeup and Hairstyles 2012: Goya Award for Best Makeup and Hairstyles (won)
- Goya Award for Best New Actor 2012: Goya Award for Best New Actor (won)
- Goya Award for Best New Actress 2012: Goya Award for Best New Actress (nominated)
- Goya Award for Best Original Score 2012: Goya Award for Best Original Score (won)
- Goya Award for Best Production Supervision 2012: Goya Award for Best Production Supervision (nominated)
- Goya Award for Best Sound 2012: Goya Award for Best Sound (nominated)
- Goya Award for Best Special Effects 2012: Goya Award for Best Special Effects (nominated)
- BIFA for Best Foreign Independent Film 2011: BIFA for Best Foreign Independent Film (nominated)
- Broadcast Film Critics Association Award for Best Foreign Language Film 2011: Broadcast Film Critics Association Award for Best Foreign Language Film (nominated)
- European Film Award for Best Composer 2011: European Film Award for Best Composer (nominated)
- European Film Award for Best Production Designer 2011: European Film Award for Best Production Designer (nominated)
- Golden Globes 2011: Best Non-English Language Film (nominated)
- Saturn Awards 2011: Best International Film (won)

## If you liked this

- *Eyes Without a Face* (1960), Fi1m 86: Surgical obsession and physical vulnerability, handled with a similarly unnerving composure. — [Fi1m page](https://film.one/film/eyes-without-a-face.md)
- *Dead Ringers* (1988), Fi1m 87: Medical authority becomes deeply suspect, with performances that make the unease personal. — [Fi1m page](https://film.one/film/dead-ringers.md)
- *Seconds* (1966), Fi1m 84: A different surgical nightmare about the cost of becoming somebody else. — [Fi1m page](https://film.one/film/seconds.md)
- *Phoenix* (2014), Fi1m 68: A changed face makes recognition and trust painfully difficult to separate. — [Fi1m page](https://film.one/film/harry-potter-and-the-order-of-the-phoenix.md)
- *The Handmaiden* (2016), Fi1m 85: Confinement, desire and withheld knowledge sustain another carefully controlled, disreputable thriller. — [Fi1m page](https://film.one/film/the-handmaiden.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/the-skin-i-live-in