Ema

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 has done better movies. This time, there's less to it than meets the eye and ear. The scenic city of Valparaiso is the best actor in the movie, while the pulsing soundtrack overplays its hand.

You can enjoy the dry humour, the local culture and swiftly shifting alliances, but the main problem is the eponymous female lead. Whose intersecting compulsions of narcissism, pyromania, dancing, and evil-doing, are sometimes hard to follow and not always easy to believe.

Self-absorbed Ema thinks she is a fascinating character. The director rather agrees - but he doesn't always make the case to the viewer.

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.

As "Ema" (2019 release from Chile; 107 min.) opens, we see a traffic light on fire, literally. As the camera scans back, we see a woman (Ema) walking away while she is holding a flamethrower. We then get to know Ema, a modern ballet dancer, and her husband Gaston, a troupe's choreographer. They argue back and forth about the fate of their 9 yr. Old child Polo, whom they had adopted but recently was taken away by (or turned in to?) the Children's Protection Services. What did Polo do exactly? At this point we are less than 10 min. Into the movie but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from Chilean director Pablo Lorrain. In fact it's his first movie since directing hos Hollywood debut in 2016 with the widely acclaimed "Jackie". For "Ema", he returns to Chile, and more specifically the Pacific Ocean town Valparaiso (itself a character and star in this film). The film is a fascinating mix of a family and relationship drama on the one hand, and more abstract observations on the other hand, topped off with a generous dose of reggaeton music and modern dancing. Beware: the movie features a LOT of nudity, so if that is an issue for you, I'd suggest you check out something else. The cast is for us Americans completely unknown, but kudos to Mariana Di Girolamo, who is just fantastic in the title role.

As noted in the film's end credits, the entire movie was filmed in Valparaiso in September of 2018. It premiered a year later at the 2019 Venice Film Festival. Then COVID messed up a theatrical release in the US. Now 3 years later after shooting, the movie had gotten a limited theatrical release in the US. It opened this weekend at my local arthouse theater here in Cincinnati, and I couldn't wait to see it. The early Saturday evening screening where I saw this at turned out to be a private screening. I literally was the only person in the theater. Never mind. If you are in the mood for a top notch foreign family and relationship drama, I'd readily suggest you check this out, be it in the theater (while you still can), on VOD, or on DVD/Blu-ray, and draw your own conclusion.

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.