In Pedro Almodóvar’s “Broken Embraces” (Los abrazos rotos), passion, complexity and moral turpitude collide in a trademark piece of storytelling from one of Spain’s most renowned filmmakers.

Continuing his homage to the world of 1950s Hollywood melodrama, Almodóvar conjures up a slowly unfolding tale of a blind movie director trying to redeem his past following a tragic event years earlier.

In the present, Harry Caine (Lluís Homar) is a script doctor for hire, charging a pretty euro to turn wanabe filmmaking ideas into a serviceable screenplays.

He is aided and abetted in his endeavors by his loyal, longtime assistant Judit (Blanca Portillo) and her adult son Diego (Tamar Novas).

Learning from a would-be client — a young filmmaker, Ray X (Reubén Ochandiano) — that a millionaire financier, Ernesto Martel (José Luis Gómez), has died, it sets off a sad chain reaction.

Flashing back to 1992, we meet vivacious secretary, aspiring actress and part-time hooker, Magadalena (Penelope Cruz), better known as Lena, who becomes involved with Martel to help her sick father.

At this time, Caine is living under his real name, Mateo Blanco, a successful film director who will audition and cast Lena in a comedy drama, “Chicas y maletas” (Girls and Suitcases), a movie that shares many similarities with Almodóvar’s 1998 release “Women on the Verge of a Nervous Breakdown.”

Consumed by jealously, Martel offers to fund the film and orders his son to spy on the couple under the guise of documenting the production and further enlists a lip-reader (Lola Duenas) to interpret any footage of them talking.

The subterfuge sets off a chain reaction of consequences, leading to a new chapter in which characters search for love and redemption.

“Broken Embraces” marks Almodóvar’s (who won a screenplay Oscar for 2002’s “Talk to Her”) 18th feature and is the fourth collaboration with fellow Oscar winner Penelope Cruz.

Recently, actors Lluís Homar and Blanca Portillo sat down with journalists in Los Angeles and talked about their “surprised” casting, working with Almodóvar and their dream roles.

How did you both get the parts?
Homar: In both our cases, it was funny because Pedro was in London preparing the theater version of his movie, “All About My Mother,” and he had this press conference where he announced that he was going to do a feature film with Blanca and myself and we didn’t know anything about it. We hadn’t received any script, but then I got a call saying Pedro would phone you to talk about the film. So, he called me, but he didn’t tell me anything about the script or the character. He invited me to Portugal and says ‘I have a gift for you,’ and presents me with the script. When I read I was really impressed, Pedro always does something different.

Portillo: Yeah, that was how we both found out we were doing a Pedro Almodóvar film. But if Pedro calls me, I go. I don’t [even] need to read the script, but in this case when I read it I felt moved. It was something unconscious, something that touched you and you felt would touch the audience.

What’s it’s like being directed by Pedro?
Portillo: He’s wonderful. He knows what he wants to say. He’s alert to everything you see on the screen; costume, make-up, set direction, music. He knows how to work with all the actors.

Homar: Control isn’t the right word for it, but he loves to be involved in everything.

One of the themes in the movie is about leading a double life. Blanca, how did you relate to that in your character?
Portillo: Well, I think everyone has a double identity. There is always something inside us that we don’t want people to see. We live alone with that person inside. But this is a very clear example of constructing a character that is not you.

Llúis, is this the first time you’ve portrayed a blind man?
Homar: Yes, and luckily I had four months to prepare for the movie. I had a very good teacher, a blind man who has become a very good friend. I spent a lot of time with him, watching the way he put his eyes on you when he talked, the position of his head. I also spent time going up and down my own stairs, preparing my breakfast with my eyes closed. I wanted to hear and smell the changes when you’re able to see.

Do you have a dream role?
Portillo: If I make it that way then the dream is over. No? I prefer not dream in that way.

Homar: My dreams are related to life; to learn more about the art of living and then I’m sure I will be better in what I want to do.

Portillo: Yes, my dream is to become a better person.