Ema

A traffic light burns late at night in Valparaiso. This strange opening scene sets an unusual and colorful tone for the rest of Ema. Gradually it is understood how the light caught fire. Mysterious undercurrents and unusual passions swirl in human hearts. Dialogue, setting, music, dance scenes and characters follow similar rhythms and are typified most by Ema herself. She is a ball of fire. Energetic, devious and unpredictable, she prowls the streets of Valparaiso seeking sparks to reignite her damaged marriage, abandonment of her adopted son, struggling dance career and volatile self.

Sometimes there is no script. This is true in acting as well as life. According to Pablo Larrain at the Toronto international film festival, the actors received plot cues only at the last minute. Fluidity and dynamism were the results. The actors explored a new language. Traditional boundaries were also pushed with sexuality, family, the atmospheric and hypnotic music, dance and more. The film toys with notions of what is feminine and masculine. Mariana di Girolamo (Ema) is perfect for the role. Gael Garcia Bernal (Ema's hubby Gaston) is reunited with Pablo Larrain (nominated for three Oscars for the film Jackie). While I prefer thought and depth to the dialogue, the non-scripted acting achieves some intriguing results. The Valparaiso scenery is as thrilling as Mariana di Girolamo.

Some youngsters may get something out of this, certainly more than I. Somewhat alienated by the overlong 'dance' sequence at the start and the introduction of a most unattractive looking women who struck me as psychotic from the start did not bode well. As things became a little clearer regarding the 'lost' child, so concerns for all around the mother grew. Mixed with the horrors of the limitless damage a ruthless, manipulative and vengeful, crazy woman might wreak we have pyrotechnics. At once spectacular and diverting they also added to the feeling that all was terribly wrong. Unfortunately as the troubled Ema insinuated herself within the lives of those she wished to influence story development is paused for sex scenes. I understand that no film from Chile may be considered complete without such scenes and here they were well done but sat most uncomfortably within the story supposedly around the fate of a young boy. Not terrible then but for me this seemed confused and unfocused.

Pros: 1. The cinematography is absolutely gorgeous, especially considering the colour gradient and the superb slow camera movements. 2. Both Gael García Bernal (Gastón) and Mariana Di Girolamo (Ema) both give fantastic performances. 3. The dance scenes are greatly choreographed and are completely entrancing. 4. The emotional scenes between Ema and Gastón conversing about their failings with Polo (Cristián Suárez) and their relationship since Polo, land powerfully. 5. The score is mesmerising and it lathers the movie in emotional richness, and is always utilised effectively. 6. The sex scenes are incredibly sensual, intimate, and they succinctly highlight the depth of where Ema will go for Polo.

Cons: 1. The pacing is a little too slow at certain points, with some scenes lasting too long. 2. The plot is rather unfocused at times and it sometimes loses its way in regards to the story-telling. 3. The flame-thrower scenes, although visually enrapturing, are utterly pointless.

Larrain is an excellent film maker and there is craft on display here for sure, visually, and with elements of the score (not the Reggaeton - it is almost worth watching to hear Bernal's rant against what is certainly the worst musical genre on earth), but this is a chore. No element of the story really grabs, the main character is obnoxious and irritating, and the rest are neither here nor there. Probably a 4.5 but I'll give the benefit as there are moments. Hopefully his next will be a return to form. In the meantime I'll watch Jackie again.

It could be the illegitimate offspring of Lynch, Almodovar and Gaspar Noe baked at Fahrenheit 451 for good measure. Tricky to align with reality, thought provoking nonetheless, beautifully acted and imaginative.