A somewhat elliptical family drama from Pablo Larraín, Ema tells the story of a young woman who returned a child she adopted, feels the loss deeply, and wants to get him back. We discuss the central performances from Mariana Di Girolamo and Gael García Bernal, how their characters throw the most painful insults at each other but remain so obviously in love, Ema’s sexual fluidity and willingness to use sex as a tool, the poetic opening movement to the film including the astonishing on-stage, colour-shifting Sun, and whether Ema’s pain is as apparent as we’d like.
A complex story about story-telling, about the relationship between truth and legend, about the imaging of history, the shaping it through the construction of particular images to render them iconic, so memorable that history is not only read through them but actually reifies into those images themselves. In a way Jackie can be understood as a continuation and development of some of the themes first explored in No, Larrain’s 2012 film about the development of an ad campaign to defeat Chilean Dictator Agusto Pinochet in a national referendum. Natalie Portman is extraordinary. I can’t think of any other actress who’s had so many demands made on her by one movie in the last year; on a surface level — in terms of what one likes — she carries the whole thing (though I also perked up at the first sounds of Richard Burton singing ‘Camelot’). Portman and her work are what emotionally engage. The achievements of the film itself — like with Larrain’s other work — Tony Manero and Post Mortem come to mind — are too intellectual, too distancing to be encompassed or warmed through a word such as ‘like’. One ends up cooly admiring, rather dispassionately, and perhaps as a result, the mind doesn’t linger over the ideas too long either. One knows it’s extraordinary but one wants to move on, quickly, to something warmer and more instantly gratifying…and yet the story and its telling won’t quite let you and pull you back to thought.