Going back brings to film-goers an 11-year-old interest:
Cinema-going audiences, film historians, and movie critics generally accord high marks to the compelling contributions by cast and crew and the excellent configuration of characters, dialogues, and events in Volver (To Go Back). The Spanish drama brings to cinematographic screens the intriguing experience of viewing a film whose configuration a previous movie foretells. The storyline covers the same ground as that in a novel whose rejection as a publishable manuscript and theft for a film screenplay appear in Pedro Almodóvar’s 1995 release, La flor de mi secreto (The Flower of My Secret).
Volver does not have anything in common with the earlier film other than inputs and outputs by the same director, editor, musician, producers, and writers.