1/8/2024 0 Comments Ema movie 2021![]() ![]() Semiotics of anarchy open the film: a traffic light set on fire at dawn. Additionally, Ema inadvertently comments on current events that transpired in the nation’s social unrest, highlighting the politically active millennials and zoomers. She re-adopts her returned son through a plan involving her girlfriends from the dance troupe à la Ocean’s Eleven. Ema is successful in seducing all of the members of the a newly formed family at the end of film. Ema, however, is less about defeat and loss, and more about grit and cynicism. The entire film could be read as a plot to prove her wrong.ĭefeat and loss are common themes in Chilean visual narratives, particularly those that allude to the military past or its legacy in neoliberal late capitalist fatalism. She is the most powerful character in the film, with the exception of social worker Marcela (Catalina Saavedra), the most titillating of all secondary characters. The anti-heroine overcomes and finds “normality” in her life, in spite of Gastón’s infertility and infidelity her adoptive son’s erratic behavior somehow inherits her adoptive mother’s pyromania, and clashes with her mother. The lines between Ema and older husband and choreographer Gastón (Gael García Bernal) are memorable cognitive dissonances that dominate the entirety of the script: “Eres un condón humano” she will insult him for infertility and in the same conversation she will declare “no te das cuenta pero eres precioso.” The increasing antagonism of the couple is overshadowed by Ema’s master plan, leaving him and introducing new love and/or sex partners in order to reassert herself as a caring mother, wife, teacher, and choreographer. The script is captivating, as it leads the audience into an emotional abyss. The dance ensemble is impressive, but shy in comparison to the actors’ sobering close-up and medium shots of eerie conversations that are effortlessly woven together by Sebastián Sepúlveda’s editing. Besides, grandiose dances and choreographies are eclipsed by an even more cumbersome script by Guillermo Calderón and Alejandro Moreno. ![]() But attempting to fit it in a genre is a futile exercise. Viewers can be immersed in this film with enough dance and/or erotic scenes with colorful filters that might suggest that the movie also belongs to the subgenre of the underdog dance or an erotica film. The original music by Nicolás Jaar is hypnotic and nauseating at times, with agile transitions to the self-awareness of the pompous contradictions of reggaetón as a liberating dance form, but with long airy extra diegetic music that become diegetic during the dances in a colorful theater or in the foggy seaport of Valparaíso. It might also remind us of Paul Verhoeven dramas and thrillers, and in some instances David Lynch’s Mulholland Drive and Inland Empire, with a soundtrack that has striking similarities with Lynch’s favorite film composer Badalamenti. If we read the film as a film noir, she is the femme fatale and a detective that survives. ![]() Ema (Mariana Di Girólamo), a pyromaniac dancer and “profesora de expresión,” has an agency that disrupts the cliché of a feminist coming of age film, and becomes both the triumphant anti-hero and her own antagonist. Then, it can morph into a family soap opera, and perhaps, a carefully crafted heist film. Interspersing sequences of stunning choreography with a gripping and ingeniously structured narrative of seduction and manipulation, all set to an immersive electronic score by Nicolás Jaar, Larraín’s mesmerising film hinges on Di Girolamo’s extraordinary performance: tender, volatile, physical and fully alive.At times, Ema is a reggaetón music video, or an ad with electronic ambient house, or a modern dance performance in a haughty metropolitan city. The couple’s agonising decision spins the marriage into chaos, but the guilt-ridden Ema refuses to let go, and sets out on a strange, secretive, and fearless quest to reunite her family… The couple is reeling from a crisis: they’ve just returned their adopted 12-year-old son Polo to child services, after the troubled boy set fire to their home and injured Ema’s sister. Her insatiable passion lies in the sexy reggaetón music she and her friends dance to on the city’s streets she’s forged a career as part of an experimental modern ensemble overseen by her husband, demanding choreographer Gastón (Bernal). ![]() Free-spirited, platinum-blonde Ema (Di Girolamo) is a beguiling, stubborn and fiercely talented young dancer and teacher. ![]()
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