Yolanda is a typical Almodóvar heroine, caught up in a camp melodrama of her own making and running further into the fray with each scene. Having inadvertently killed her boyfriend with strychnine-laced heroin, she flees to the convent of The Humble Redeemers, a Spanish Sisters of Perpetual Indulgence, no drag intended. Almodóvar quickly loses interest in his heroine (an indulgence he can freely claim in this loosely structured early work) and is drawn instead to the nuns themselves: Sister Snake, Sister Rat of the Sewers, Sister Manure, and Sister Sin. They are engaged in their various devotions-drug addiction, pornographic writing, self-mutilation and Bringing Up Baby. When they haul out the bongos to back up Yolanda (a torch singer by trade), "Almodóvar could probably make the case for nuns as the true sensualists of our culture. In a climate of repression and denial, each sin, no matter how casual, stands out with delicious clarity." (David Edelstein, Village Voice)