Abstract: This essay focuses on Guillermo Pérez Villalta’s painting, Dionysus Finds Ariadne on Naxos, in The Skin I Live In (Almodóvar, 2011). In the bedroom where this painting hangs, a screen on the opposite wall reproduces the actions and gestures of Vera, held prisoner by the professor who has trans-sexualised her against her will. This essay contends that the use of a screen aims at creating the unfigured painted face of Villalta’s painting set in front of it.
