In the spotlight from his noisy 'Do not', Pablo Larraín has chained a series of projects to each one more interesting, both in his country and at the time of making the Americas. After the exquisite 'Jackie', the Chilean returns home to tell a different story full of light and color about the modern family and the most disparate personal relationships at the rhythm of reggaeton. Yes, 'Ema' is a box of surprises.
The music is the family
Always aware of the impeccable visual aspect of his films, Pablo Larraín throws himself upside down with 'Ema' to the power of music, and does so in the most unexpected and, a priori, least suitable way for the tempo of a filmmaker who prefers to take Things calmly. The director of the excellent 'Neruda' and the incontestable masterpiece, 'The club', makes a somersault in this approach to a generation that is neither yours nor ours. And he does it through the freedom, a bit of debauchery and a lot of music.
This story about dance polyamory in the form of a twisted and somewhat punk story, focused on the strength of affection and the new family structure, has become the most sound film of a filmmaker who seemed to have no visual limits. If in 'The club' everything was ugly, horrible, because it had to be that blurry, here it becomes in explosions (literals) of light and color In its purest form.
In addition, 'Ema' is endangered with a reggaeton that benefits from Sergio Armstrong's portentous lighting, and not vice versa, although the music that stands out the most from the movie It's the great composition of Nicolas Jaar.
Live, love, dance
After an incident truncated his family life and his marriage to the choreographer of his company, Ema (magnetic Mariana Di Girolamo), a young reggaeton dancer, embarks on an odyssey of personal liberation in an incendiary drama about art, desire and the modern family.
Last season he had a good harvest of dance movies of all kinds. 'Girl', 'Climax' or 'Suspiria' addressed the theme of dance from all fronts, each in its own way. Pablo Larraín not only allows himself the luxury of looking at those titles in the eyes, is that it also seems superior to many of them.
Seen the films of Gaspar Noé or Luca Guadagnino one can not help imagining what would have happened to them, especially the review of Dario Argento's classic, of having fallen into the hands of a filmmaker who always knows how to get horror without making noise . Even if sharing almost an universe ideal with both, it is with Noah's work that he shares many more things. The desire, the party, the orgasm, is in the dance.
All the works of the Chilean producer have several debts pending with fear, and 'Ema' was not going to be less. Portrait of a family in the widest spectrum of the word, allows the viewer to stop reflecting on where to place the term "dysfunctional": if in the image of that new way of life that seems impossible to us or if it will not be us those that we could not lift the anchors of conservatism.