A couple deals with the aftermath of an adoption that goes awry as their household falls apart.
A couple deals with the aftermath of an adoption that goes awry as their household falls apart.
Mariana Di Girolamo Gael García Bernal Santiago Cabrera Paola Giannini Cristián Suárez Mariana Loyola Catalina Saavedra Susana Hidalgo Josefina Fiebelkorn Giannina Fruttero Antonia Giesen Paula Hofmann Paula Luchsinger Claudio Arredondo Eduardo Paxeco Natalia Bakulic Amparo Noguera Diego Muñoz Claudia Cabezas Paula Zúñiga Trinidad González Gastón Salgado Josué Rojas Maykol Lara Francisco Martínez Emilio Edwards
An anarchic, liberated, and contagiously alive character study that feels like it was born out of a three-way between “Amélie,” “Oldboy,” and Gaspar Noé before maturing into a force of nature all its own, Pablo Larraín’s “Ema” doesn’t always dance to a clear or recognizable beat, but anybody willing to get on its wavelength will be rewarded with one of the year’s most dynamic and electrifying films. Which isn’t to suggest the movie — Larraín’s first since the one-two punch of “Neruda” and “Jackie” in 2016 — doesn’t grab you from the moment it starts, only that it keeps you on your toes for a little while before you can figure out the steps, and it never lets you take…
A beautifully-shot psychosexual drama about a young woman desperately struggling for control. Burning meets Raw meets We Need To Talk About Kevin meets Marriage Story. (And then when they meet, they decide to have a foursome.) A wonderful, pulsating score. An ending that would’ve made me scream had I not finished it at 3 in the morning. Imagine how pissed Pablo Larraín was when he learned the title “Bad Moms” was taken.
that was the saddest Step Up sequel i've ever seen
I just don’t want to be rude, but every review here doesn’t come close to describe how fucking atrocious the dialogue is. How pretty it looks, how convinced it is of what it is, are surely high points, but this might be Larrain’s weakest film by far. Empty provocations, queerbaiting, a plot that absolutely makes no sense, strong idealization of madness, a forced sense of normalcy that doesn’t sit well at all. This is an effort that doesn’t amount to much. It’s frustrating to see so many talented people doing this kind of shallow, empty gesture towards nothingness.
PS: that’s not fucking reggaetón, that’s like what rich people think reggaetón should be so they are comfortable dancing it and making a movie out of it.
Watched the one night only screening on Mubi. Will always support a new Pablo Larraín film.
Due to lack of time, I can't add much to these logs for now. :(
Maybe in the future.
All of the colors of the rainbow, coming together in pitch dark — a reflection of ink in the face of an aurora borealis. Heartbreaking, investigational, and invigorating. Not one to miss, or necessarily even “understand,” but one to feel on a deep, internal level; the coal black fire of the soul heating a disco of death and rebirth.
More than anything else, Ema (along with much of Pablo Larraín's filmography) is a film that cannot be fully understood unless you understand the history and politics of Chile, and though his films are accessible enough to outsiders we likely will miss much of the subtext for the glimmer and shine he coats them in.
And what glitter and shine this has! As evidenced by the captivating dance scenes within that feel ripped straight out of a music video, filmed against the colorful backdrop of a seaside city complete with rolling hills and vivid streets where the people are as diverse as the exteriors of the buildings. For most viewers, the spectacle is more than enough of a draw to…
What if...we fuck around and torch the city with a flame thrower haha just kidding...unless?
This review may contain spoilers. I can handle the truth.
This movie made me realise that I too want to hook up with a fireman and that's why I'm introducing a fireman in the third book imma write about my sex fantasies. Gone put fifty shades out of business henny.😏
So this movie clearly should have been titled: Latin people are hot: the movie however it was called ema and it was about shitty parenting and shitty parents who did nothing but blame each other for nearly 2 hours, cuss each other and make up 5 minutes later just to fight 2 mins later. So... Hey marriage story gurl! Except the husband didnt look like a rat and was actually a feminist and the wife wasnt a man known as…
still thinking about the dance sequence on the rooftop a week later - loved the complicated, messy polyamory and the film's focus on sensation over everything else, pretty much beats CLIMAX at its own game
“Nobody can stand you.”
The films strength is the beautiful, fluid camerawork which oddly reflects Ema's sexuality. It focuses on Ema (Mariana Di Girolamo) and the relationship with her husband (Gael García Bernal) in the aftermath of them returning their adopted son, Polo. The title of the film tells us we should focus on Ema which is exactly where director Pablo Larraín keeps redirecting us.
“Mi amor, venga.”
I wanted the film to be more about Polo, but he was almost like a ghost: while not dead, he was always present, informing every scene. But the focus remains on Ema: she likes men, she likes women, she blames her husband (and he blames her), and she even gets involved with a married man. Nothing can stop Ema.
Watch for free on MUBI through tonight (May 1, 2020). Click here to receive 30 free days of MUBI: mubi.com/t/web/global/3m4uuw2
Dead cat in the freezer
I admit that I enjoyed the ride, stylish and avante-garde as it was, but this left a nasty aftertaste. The heroine is a shallow, one-dimensional, self-absorbed wrecking ball, and the rest of the cast is only minimally more likable or relatable. The only character I identified with was the scolding social worker. Stop trying to be a mother, you're terrible at it! I'm honestly offended on behalf of youth and self-empowerment and rebellion and sexual liberation and all of the other things I think (?) Ema is meant to embody. None of those things are synonymous with sociopathy, and this movie, this character, do all a disservice.
Trip femminista, caleidoscopico, incendiario del maestro Pablo, che firma una pellicola dallo spirito sovversivo e anarchico, ma utilizzando il linguaggio del videoclip e del messaggio pubblicitario. Qualcosa di nuovo, spiazzante, che deve essere assorbito prima di essere amato. Ed è anche uno specchio della condizione sociale del Cile di oggi, della sua cultura, dei suoi colori e delle sue musiche, con lo sfondo di una Valparaìso che rimarrà sempre il porto felice di dissidenti, poeti e puttane.
“People who dance well, fuck well.”
الشخصيات اللي تروح لأبشع واخطر الأماكن بس عشان يوصلوا لمبتغاهم بالأخير... يفوزوا صراحة.
La última película del director chileno es una pieza incendiaria por donde se la observe. Con una calamidad implícita que se hace percibir constantemente en sus temperamentos, Ema revela una energía impactante en su concepto mientras su protagonista revela en el baile una forma de redención. Una película agresiva sin perder la elegancia, impulsiva sin dejar de ser enigmática y experimental sin ahondar en estructuras intrincadas. Toda una experiencia visual que trama con los distintos grados de intensidad de la historia, desde su pulso dramático latente, hasta sus coreografías surrealistas, Ema es un film electrizante y vigoroso al ritmo de puro reguetón. Y que además en eje de su conclusión pone sobre la mesa un debate a futuro sobre la concepción familiar.
So basically everyone's fucking everyone and everything's on fire?
Ich weiß nicht ob ich mir etwas mehr Geschichte gewünscht hätte oder etwas weniger. Die Tanzeinlagen mit Mariana Di Girolamo und Bilder vom Flammenwerfer haben mich in diesen Film getrieben. Aber am Ende hätte mir der Trailer wohl doch gereicht.
Wer aktuell das Kino aufsuchen möchte, sollte es gleich doppelt tun. Denn mit KAJILLIONAIRE von #MirandaJuly und EMA von #PabloLarrain kommen zwei Filme ins Kino, die man sich am besten als Doppelvorstellung anschauen sollte! Warum? Weil beide Filme dysfunktionale Familienverhältnisse in dysfunktionalen Gesellschaften thematisieren. Die besondere Note: Die Filme selbst positionieren sich in ihrer Behandlung des Themas wie Gegenpole zueinander.
Hier geht es zur Doppelkritik im Video: youtu.be/VYCjVMBxboc
Arthouse exploitation of the highest order!
Gael Garcia Bernal's rant about reggaetón is superb.....dumcha dumcha.
Great sound design, beautiful colors especially the flamethrowing scenes, smooth camera movements. The intensity of Mariana Di Girolamo and Gael Garcia Bernal is wow. Makes you realize that there is a fine line between detachment and depression.
A Denver Film Festival Selection
I've now seen three movies from director Pablo Larrain: one I loved (No), one I disliked (Jackie), and now this one, which I'm decidedly mixed on. It's set in Chile, and begins with its titular character and her husband Gaston (the forever hot Gael Garcia Bernal). He's a choreographer, she's in his dance troupe. They are married, but estranged, because they've recently returned their adopted child to the orphanage after he severely burned Ema's sister. The movie stays with Ema as she interacts, and occasionally has sex, with Gaston, other troupe members, social workers, teachers, and firemen. The latter come into play when she acquires a flamethrower, leading to scenes that feel symbolic, but of…
the dancing sequence lives in my head rent free
On paper and in screenshots, this could have been the best movie ever. Unfortunately it is not.
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