Film
I'm So Excited!
Pedro Almodóvar's airborne comedy traps a planeload of Spanish eccentrics in a flying metal tube with broken landing gear. It's a high-camp musical fever dream—gorgeous, ridiculous, occasionally touching—where every passenger has a secret and the cabin crew treats imminent disaster as a styling opportunity. For anyone who loves colour, melodrama, and characters who wear their neuroses like couture.
If you liked this
The Poseidon Adventure1972
The original disaster-movie ensemble template: a ship capsizes, strangers must band together, the stakes are genuine but the fun never stops. Peak Hollywood spectacle with a huge heart.
But The effects look dated and the pacing drags in places. Some plot threads feel abandoned once the water stops.

Airplane!1980
The gold standard of comedy catastrophe films. Relentless gag density, perfect deadpan delivery, and it never apologises for the absurdity. Pure joy wrapped in satire.
But The humour is scattershot and sometimes juvenile. If you hate puns and sight gags, you'll be exhausted after twenty minutes.

La Bamba1987
A musical drama about musicians, with charisma, energy, and that same Latin-inflected sensibility. Lou Diamond Phillips is magnetic and the period detail sings.
But The plot is fairly conventional and the dramatic moments can feel heavy-handed after the lighter sequences.

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The wildcard
Something you would not have found on your own.
Ichi the Killer2001
Both directors use saturated colour, exaggerated performance, and the machinery of cinema itself to externalize internal chaos. Both believe visual excess can be emotionally honest.
Takashi Miike's violent, hallucinogenic yakuza film uses colour, camp, and theatricality to convey psychological extremity. It's visually stunning, deeply strange, and utterly committed to its own logic.
But It's extremely violent, sexually graphic, and designed to be deliberately uncomfortable. The plot is secondary to the feeling. It's not fun in any traditional sense.

More like this (7)
Singin' in the Rain1952
The ur-text for musicals where the artifice *is* the point. Unbearably charming, technically brilliant, and proof that a perfect movie can be made just to make you smile.
But If you're immune to Gene Kelly's charisma, this will feel like watching someone else's joy. Very 1950s in its assumptions about romance.

The Adventures of Priscilla, Queen of the Desert1994
Three drag queens cross the Australian outback in a converted bus. It's vulgar, tender, wildly entertaining, and genuinely moving about friendship and found family.
But The tone whiplashes between broad comedy and real pain. Some jokes aged poorly and some emotional beats feel unearned.

After Hours1985
Scorsese's fever-dream comedy about a man's surreal night in downtown Manhattan. It's strange, precise, funny in ways that catch you off-guard, and thoroughly original.
But The humour is deliberately alienating and uncomfortable. The pacing is deliberately chaotic. It's not designed to make you relax.

What's Up, Doc?1972
Barbra Streisand and Ryan O'Neal in a screwball romance that's genuinely funny, propulsively paced, and proof that big comedies can still have genuine charm and chemistry.
But It leans hard on slapstick and romantic-comedy tropes that feel familiar now. The plot is deliberately thin.

The Palm Beach Story1942
Preston Sturges at peak form: witty, beautifully constructed, with wonderful character work and performances that make dialogue sparkle. A perfect example of how comedy should move.
But The assumptions about class and gender are entirely of their era. It's in black and white, which matters if you're not already a classic-film person.

A Lot Like Love2005
A romantic comedy about two people who keep running into each other over a decade. It's silly and sweet without pretence, with genuine chemistry and heart underneath the froth.
But It's formulaic and relies entirely on whether you buy into its central romance. The supporting characters are thin and the plot is gossamer.

Dancer in the Dark2000
Both films use musical form and performance as a way to excavate emotional truth beneath surfaces. Almodóvar's characters perform to survive; Selma performs to endure. Same tool, opposite registers.
A musical tragedy where an immigrant factory worker rehearses her life as song-and-dance numbers while her actual life collapses. It's heartbreaking, formally audacious, and uses the grammar of musicals to express helplessness.
But It is relentlessly, deliberately bleak. Watching it is emotionally exhausting in a way designed to wound you. The musical numbers don't make you happy; they make the darkness sharper.

People
Cast
Antonio BanderasLeón
Penélope CruzJessica
Coté SolerOperario 2
Antonio de la TorreÁlex Acero
Hugo SilvaBenito Morón
Miguel Ángel SilvestreEl novio- Laya MartíNovia
Javier CámaraJoserra
Carlos ArecesFajas
Raúl ArévaloUlloa
La Terremoto de AlcorcónPiluca (azafata 1)
Nasser SalehJoven étnico
Directing
- Laura García AlonsoAssistant Director Trainee
- Pedro AlmodóvarDirector
- Manuel CalvoFirst Assistant Director
- Eva SánchezSecond Assistant Director
- Ana ValenciaThird Assistant Director
- David EsquivelThird Assistant Director
- Laura DíezThird Assistant Director
- Mariangel DomiánThird Assistant Director
Writing
- Pedro AlmodóvarScreenplay
Production
- Bárbara PeiróAssociate Producer
- Diego PajueloAssociate Producer
- Luis San NarcisoCasting
- Toni NovellaLine Producer
- Agustín AlmodóvarProducer
- Esther GarcíaProducer
- Sergio Díaz BermejoUnit Production Manager