I have mixed feelings about Ema - the film, and Ema - the main character. In both respects, there are great strengths and great weaknesses.
Ema is a young female dancer, who is married to her older, impotent choreographer (Gael Garcia Bernal). We learn early on that they adopted a boy called Polo, but gave him back after finding he had destructive tendencies. These tendencies are in Ema as well, and she is blamed by her husband and others for their failure at parenthood. So Ema decides to go on an anarchic rampage, literally blazing everything in her way. However, by the end of this story we realise that there is a method in her madness. She has worked out, in her own bizarre way, how to get exactly what she wants, and the plot quite cleverly ties up all the loose ends.
The cinematography will make your jaw drop at times, it's visually breathtaking and even the most ordinary scenes are beautifully framed and coloured. Nicolas Jaar's soundtrack is the sensual icing on the cake that draws you further in. The acting throughout is impressive, especially the lead played by Mariana Di Girólamo. She portrays the troubled but ultimately free spirit with a confident, seductive swagger. So far so good.
I think the main problem with the film is it's tone. It's confused. At no point do I know what to feel about any of the characters, and by the end I don't really care. This is particularly a problem with Ema. What are her intentions? Is she sympathetic, selfish, or unknowable? It seems that Larrain wants her to remain a mystery, but there's really not enough emotional depth to her character. She just comes across as impulsive and reckless. We find out what she really wants at the end, but it should have been obvious throughout. Then I might have believed that she actually cared about something. Gael Garcia Bernal is also wasted as a bitter but pathetic husband who contributes very little to the story.
Most of the film comes across as pretentious and showy. This is fine when it turns into a musical with extraordinary choreography, but it's lacking elsewhere. Likewise the cinematography often feels more like a music video or fashion promo, aesthetically spectacular but all surface value.
It's a shame, because if Larrain was more intent on guiding us through this story rather than shutting us out, it could have been a modern classic. Instead he decides to leave us lost and stranded along the way, without much clue of why anything is happening or where we are going. There's a big difference between mystery and confusion.
Having said that, there's still much to love about this film and I would recommend it to anyone. There's plenty to enjoy along the way, even if it is often irritating.
Ema is a young female dancer, who is married to her older, impotent choreographer (Gael Garcia Bernal). We learn early on that they adopted a boy called Polo, but gave him back after finding he had destructive tendencies. These tendencies are in Ema as well, and she is blamed by her husband and others for their failure at parenthood. So Ema decides to go on an anarchic rampage, literally blazing everything in her way. However, by the end of this story we realise that there is a method in her madness. She has worked out, in her own bizarre way, how to get exactly what she wants, and the plot quite cleverly ties up all the loose ends.
The cinematography will make your jaw drop at times, it's visually breathtaking and even the most ordinary scenes are beautifully framed and coloured. Nicolas Jaar's soundtrack is the sensual icing on the cake that draws you further in. The acting throughout is impressive, especially the lead played by Mariana Di Girólamo. She portrays the troubled but ultimately free spirit with a confident, seductive swagger. So far so good.
I think the main problem with the film is it's tone. It's confused. At no point do I know what to feel about any of the characters, and by the end I don't really care. This is particularly a problem with Ema. What are her intentions? Is she sympathetic, selfish, or unknowable? It seems that Larrain wants her to remain a mystery, but there's really not enough emotional depth to her character. She just comes across as impulsive and reckless. We find out what she really wants at the end, but it should have been obvious throughout. Then I might have believed that she actually cared about something. Gael Garcia Bernal is also wasted as a bitter but pathetic husband who contributes very little to the story.
Most of the film comes across as pretentious and showy. This is fine when it turns into a musical with extraordinary choreography, but it's lacking elsewhere. Likewise the cinematography often feels more like a music video or fashion promo, aesthetically spectacular but all surface value.
It's a shame, because if Larrain was more intent on guiding us through this story rather than shutting us out, it could have been a modern classic. Instead he decides to leave us lost and stranded along the way, without much clue of why anything is happening or where we are going. There's a big difference between mystery and confusion.
Having said that, there's still much to love about this film and I would recommend it to anyone. There's plenty to enjoy along the way, even if it is often irritating.