In this blog post, we examine whether Robert’s emotion in the film La piel que habito is true love or an obsession born of control and desire, delving deeply into the nature of human identity and emotion.
The film’s Spanish title, La piel que habito, poses many philosophical questions from the outset. Focusing on the verb ‘to inhabit’ and the noun ‘skin’ when appreciating this film allows for a deeper understanding of its meaning. The symbolism implied by the title is revealed throughout the film, serving as a crucial key to exploring human identity and its boundaries.
Before delving into the central theme of ‘skin,’ let’s first consider the recurring motifs of ‘wrongdoing’ and its ‘consequences’ in this film. This work compels us to ponder how human transgressions profoundly impact lives and the nature of the price one must pay for them. Robert’s wife, Gal, suffers full-body burns due to her affair with Zeca and ultimately takes her own life. Zeca is shot dead by Dr. Robert after raping Vera. Dr. Robert conducts experiments disregarding bioethics, revealing his twisted form of love. Marilia passively observes Robert’s actions, and ultimately, both Robert and Marilia meet a tragic end, shot by Vicente (trapped within Vera’s skin). What’s intriguing here is that Vicente, despite also raping Norma, ultimately survives and is reunited with Cristina and his mother. Thus, the film suggests that the relationship between ‘wrongdoing’ and ‘consequences’ transcends the simple issue of crime and punishment, presenting a complex ethical problem. The film offers no clear answer regarding the intensity of ‘wrongdoing’ or the appropriate level of ‘punishment,’ prompting the audience to engage in deeper reflection.
Let’s delve a bit deeper into Robert’s ‘twisted love.’ We must consider how Robert viewed his wife, Gal, and whether the feelings he harbored for Vera were genuine love. When Gal cheated on him and suffered full-body burns, Robert treated and cared for her. However, confining her to a dark room without mirrors, preventing her from seeing her own reflection, was likely not simply an act of protection. This can be seen as an expression of Robert’s desire to control those around him, including Gal. His later confinement of ‘Vera’ also clearly demonstrates this aspect of Robert’s character. Robert is a man who cannot tolerate situations beyond his control, a trait evident in his flustered reaction when Vera attempts suicide. Furthermore, when Robert engages with Vera, he utters affectionate phrases like, “I don’t like you being hurt. Hold me.” At this point, Vera is an entity possessing Gal’s face—that is, her ‘skin’. This raises the question: did Robert love the skin, Vera’s outward appearance, or did he love ‘Vera’ possessing Vicente’s consciousness?
When examining the motif of ‘skin’ in depth, Vera’s skin likely carries the most significant meaning in this film. Vincent is chosen as the test subject for the artificial skin that becomes Robert’s ‘obsession’. Robert names this artificial skin ‘Gal’, after his wife, signifying it as a being he has newly created by merging his past and his obsession. Vera was designed from the start to possess Gal’s face and skin bearing Gal’s name. Ultimately, Vincent comes to live within Vera’s skin. Vincent, having taken Vera’s skin—that is, when Vincent became ‘Vera’—leaves numerous writings on the wall, including dates. One word emphasized in a close-up in the film is ‘Respiro’ (to breathe). It is necessary to consider the relationship between this word and the film’s title, ‘Habito’ (to live). Ultimately, Vicente becomes a being who ‘lives’ within Vera’s skin. He transforms into someone who acts as Robert desires within Vera’s skin, gaining his trust to the point of being permitted to go out. However, ultimately, Vicente, as a ‘breathing’ being, recognizes that he is Vicente, not Vera. He breaks his promise to Robert, escapes, and confirms his identity to his mother and Cristina. Whether he can live as ‘Vicente’ remains uncertain, but his fate is intricately entangled in the fact that he must continue living within ‘Vera’s’ shell—the skin Robert created.
Beyond this, the film offers numerous points for discussion: criticism of Robert’s bioethics for altering human skin properties to create artificial skin; the symbolic meaning behind Norma and Vera’s act of tearing clothes; the reason for Vicente’s changed attitude; and the sexual imagery Vicente sought to convey through gestures like massaging the chest while dressing the mannequin. The complex ethical and philosophical issues contained within this film do not end with mere appreciation; they become a medium that induces deep thought and discussion among the audience. This work, where such diverse devices and symbols blend together, emphasizes that it is an attractive film where new meanings can be discovered through multiple viewings, thus concluding this piece.
