Naming
Almodóvar sets up each sequence of the film by imposing a title for each new event. The labels allow us to know the subject of the next sequence as well as the timeframe that has past. By doing this, Almodóvar is able to leave out much of the exposition and get straight to the meat of the story. And it visually separates where we are in the film.
Rearview Perspective
Lydia watches Marco leave her home after killing a snake for her. She sees him crying in the rearview side mirror of the car. It's not until months later that she asks him why he was crying. The image then holds significance as he cried because of a memory from his past relationship.
Alicia y Benigno
We see Benigno sitting with Alicia on the balcony of her room at the long term care facility. They are shot from inside the room so, we see a window frame separating them. The imagery shows that Benigno believes they are connected, but in fact they are disjointed as she is in a comatose state and he is fully alive.
Lava Lamp
The lava lamp imagery after Benigno tells Alica of the film he saw tells us exactly what he has done. He's coupled with her in her comatose state and the lava lamp appears as sperm entering the unknowing young girl.
