Ema

I love movies where music plays an important part, so this somewhat offbeat drama set to the rhythm of reggaeton just couldn't leave me indifferent. The main character didn't really grow on me with her behavior, but she was at least as wild as the genre of music she professed, so I willingly let myself be carried away by her on the waves of dance and free-spirited lifestyle. Apart from Emma, who was more than convincingly portrayed by the promising Mariana Di Girolamo, I was very impressed by Gael García Bernal. Probably the most since his amazing debut in Amores Perros. When I add to all of that the almost perfect visual storytelling together with a quite surprising resolution, it's clear that I won't criticize the movie, but only praise it. I went to the movie theater to see it and I have to say that it was worth it. Ema really looks good on the silver screen. (80%) (07.07.2020)

The Girl Who Played with Fire...in the rhythm of reggaeton. Larraín has never been very particular about plots. In Ema, he more or less resigned himself to the story and development. Even Ema does not live for grand stories, but rather for the present moment. She is not interested in the consequences. Anything can happen, but nothing has to happen. In fact, nearly everything of significance plays out only in the parodically overwrought melodramatic conclusion, which especially fulfills our need for a satisfying end (rather than making sense in the context of the preceding minutes and the depiction of the characters). As she becomes independent from her partner, the heroine acts in the manner that the film’s narrative is related – completely freely and according to her own rules. Rather than with words that have a special theatrical artfulness (underscored by the frontal shooting of dialogue scenes), she communicates with her body. When she dances, when she makes love with someone, when she goes from place to place and the camera follows her everywhere... By means of various rhythms, movements and colour contrasts, Larraín enables us to connect with her, to experience with her the bliss of emancipation and the fear of parenthood. At the same time, her frequently strange and intolerable behavior is not excused, nor is she punished for it. He gives her the same freedom as the viewer, whom he leads to nothing and nowhere. Thanks to that, this is a film that will either impress and captivate you (as in my case), or will be incredibly irritating for you, because you will find yourself lost in it. 80% (02.05.2020)