Ema movie 20211/17/2024 ![]() Ema and Gastón (Mariana di Girólamo and Gael García Bernal).Īcross rooftops, ball courts, and tagged seawalls on the curving shore, Ema and her crew round their hips to Tomasa del Real and Jaar’s pseudonymous E$tado Unido, backdropped by distant shipping cranes or a polychrome cascade of painted houses. Pablo Larraín, Ema, 2021, DCP, color, sound, 107 minutes. Ema delights in this categorical confusion, vesting in a single group of women infinite ways in which their bodies can relate to each other. Against Ema and Gastón’s stilted marriage, heavy with dialogue sharpened by malice, these women model a kinship beyond social convention and its acceptable range of interpersonal touch. And, of course, they dance, anywhere their bodies can find room inside the beat, which they liken to another group activity-fucking-shown in the strobelit haze of a house party, still raging as daylight shoots through diaphanous curtains. Their intimacy is never explained but always on show: At a beachside picnic, they’re gathered in an image of sororal bliss in the concrete nave of a sprawling warehouse, they help Ema transport flammable contraband with hushed purpose. At least she’s sustained by her pride of leonine femmes, fellow reggaeton dancers who prowl the sloping coastline of Valparaíso like apex predators, with di Girólamo their peroxide-blonde alpha. Polo dabbled in arson and animal cruelty before they returned him, but Ema and Gastón are nonetheless locked in the chokehold of public condemnation. It’s another way of saying motherhood is a test that can be failed, or a credential that can be conferred and taken away. Know what you have left? Dyed hair and a shit husband.” She’s asking after Polo (Cristian Felipe Suarez), the son they gave back, and in response is all but spat the truth: “He’s not your son anymore. Already a figure of dissent, Ema sports a slick, bone-bleached mullet with a barbell in one lobe and a daggerlike piercing in the other. We first meet Ema (Mariana di Girólamo), a young company dancer who prefers the open-air pulse of reggaeton, trailing the social worker who helped her adopt the six-year-old boy she briefly parented with Gastón (Gael García Bernal), a choreographer twelve years her senior. But with Ema, Larraín doesn’t excavate the fraught remains of a star so much as explode a new one from the zeitgeist. Lately, he has been fixed on iconic mononyms and the fabulists who earned them: Neruda, Jackie, and soon, Spencer (curiously in lieu of Diana). From Allende’s autopsy to the plebiscite that unseated Pinochet, Larraín’s films have mostly traced the dense striations of Chile’s political history, guided by an impulse toward crises and their weary survivors. The middle is an unusual place to find Larraín his preferred locus is the vanishing point of hindsight, where particulars of the past give way to the speculative fog of mood. Like Rainald Goetz writes on the first page of Rave, his chronophobic drift through ’90s techno: “There I was standing in the middle of the music.” Ema is about many things-a couple’s failed adoption, the special vitriol reserved for unconventional mothers, the way dance can return to a body what it has lost-but mostly, it’s about what happens when a filmmaker withholds familiar structures of time and feeling, yielding sentiment to ambient suspension. Jackie’s blooming glissandi laid a shortcut to intrigue where there was otherwise little, but with composer Nicolás Jaar, Larraín has found a way to spin that sonic texture into the core of his new film. ![]() The sound of surrender to momentum, the sliding frequencies of a swoon. ![]() Ema (Mariana di Girólamo).ĪMID CREPITANT FLAMES and crying gulls, Pablo Larraín’s Ema begins with the same musical device that opened his previous film, Jackie (2016): a glissando, that quivering freefall between two notes ferried by string, synth, or breath. It had its world premiere at the Venice Film Festival on August 30, 2019.Įma is directed by Pablo Larraín and was released on Aug 13th, 2021.Pablo Larraín, Ema, 2021, DCP, color, sound, 107 minutes. Di Girolamo’s portrayal projects a force of nature full of emotions that affect the film. After a shocking incident upends her family life and marriage to a tempestuous man, Ema, a dancer, sets out on an journey of personal liberation, in this incendiary drama about art, desire, and the modern family. ![]() Also in the film are Cristian Suares, Gael García Bernal, Paola Giannini and Santiago Cabrera. Pablo Larraín CastMariana Di Girolamo, Gael García Bernal & Santiago Cabrera ReleaseĮma is a Chilean drama directed by Pablo Larraín, from a screenplay by Guillermo Calderón and Alejandro Moreno.
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