Эма: Танец страсти (Ema)

Джеки-2?

Берналь и Кабрера, впрочем, это уже повод присмотреться к сабжу.

Джеки была совсем провалом в плане индивидуальности, так что тут точно лучше будет.

Тут ещё главные герои - танцоры, поэтому значительная часть драматургии будет через хореографию.

Тут ещё главные герои - танцоры, поэтому значительная часть драматургии будет через хореографию.

Larrain said the story would find several characters expressing themselves through contemporary dance, including reggaeton, but the movie was not a musical. ”I think this is a melodrama, which I’ve never done before, where people’s affections for others are essential to the story,” said Larrain. “There’s a lot of music and a lot of scenes where people are basically sharing their feelings.”

“It’s a way to transmit a message — it could be a political message, or a religious message, or a kind of vandalism,” he said. “Instead of yelling, they go out and dance. They’re expressing themselves by leaving a trace on the city. It’s very visual.”

ого!

Джеки была совсем провалом в плане индивидуальности

Правда же. Oscar-vehicle для Портман, который мог поставить кто угодно. "Неруду" того же года будто совершенно другой человек снимал, не ремесленник.

По сабжу - хочу Льва, не согласна на меньшее.

Pablo Larrain’s ‘Ema’ lands sales deal with The Match Factory ahead of Venice bow

Потрясающе выглядит.

Вау.

Трейлер просто бомбический

Надо присмотреться к чилийскому кинематографу

Variety

“Ema” won’t be everyone’s cup of spiked tea — and commercially, I suspect that it’s doomed to be hardly anyone’s. (Even “Vox Lux” and “Her Smell,” with their gaudy flamboyant movie-star turns, couldn’t draw much of an audience.) But even as “Ema” parades itself a prickly art object, one that refuses to invite the viewer in, it has a crucial element in common with “Jackie”: the way that Larrain fixates on his heroine. The 28-year-old Mariana Di Girolamo has a rapt millennial-void presence, like Garbo on mood stabilizers, and she’s the lone force holding a precarious, prismatic movie together. “Ema” is an estranging experience at first but slowly lures you in.

The film, you see, has no story at all. It’s more like a randomized series of events, and what plays out during some of them is enigmatic enough to exist in a realm between reality and metaphor. How, exactly, does Ema have access to a flamethrower? There’s no convincing answer, but why she wields a flamethrower makes perfect poetic sense.

Little White Lies

A young street dancer deals with a family trauma in a very unique way in Pablo Larrain’s enigmatic stunner.

The film’s fragmentary narrative can often make for tough viewing, and the wait for some kind of basic cohesion is perhaps a little longer that some may be comfortable with. But that’s not to discredit Larrain’s wonderfully slowburn conceit, which delivers in showman-like fashion when the moving final reel arrives. There are also stylised digressions beat-matched to Nicolas Jaar’s pulsing, ambient score – one is a breathtaking visual mosaic of Di Girolamo’s street dancing prowess in which each cut brings with it a new, eye-popping costume change.

It’s maybe Larrain’s most hopeful film, even though it traverses some rocky thematic terrain and gently needles at the conservative construct of the perfect family. It’s sultry and mysterious, but also comes with a strain of caustically ironic humour

All in all, it’s an enigmatic film worth tangling with as the eventual pay-off is significant.

THR

A work of self-conscious experimentalism that's too stilted and distancing to invite involvement, it gets some mileage out of the pulsating rhythms of reggaeton street dance but otherwise is so fragmented it lacks forward motion.

The visually exciting excerpts of the large dance ensemble performing a piece by Gaston against an elaborate lighting backdrop that throbs like a radioactive planet, or developing a new work in which percussionists move among the dancers with drums strapped to their backs, make for arresting punctuation. But from the start, the choppy dramatic scenes impart the barest splinters of information in a frustrating puzzle that takes way too long to piece together, making Ema play like an avant-garde theater piece you never want to see. This is a movie far too pleased with its tricksy structure and a heightened acting style that lurches between archness and solemnity.

As the story progresses, there is unquestionably a perverse fascination in its outre development, and Larrain certainly deserves credit for refusing to play it safe at this stage of his distinguished career.

The key rewards of Ema are its slinky visuals. Longtime Larrain cinematography collaborator Sergio Armstrong's camera snakes around the actors with mesmerizing grace when it's not locked in monotonous face-forward close shots. And there's impressive scope in dance interludes staged at various points around the city, capturing choreographer Jose Vidal's carnal moves with tremendous energy — in vast industrial spaces, by the port, on basketball courts or nestled in the densely populated hills among a maze of apartment blocks. Nicolas Jaar’s inventive score is used to interesting, if sometimes overly portentous effect, often sounding like it's been slowed down and filtered through dense fog.

 

But the insurmountable issue with Ema is its cold disconnect between form and content. Any heart the story might have accessed is sacrificed to directorial fussiness and characters both remote and unsympathetic. Coming from such a consistently strong filmmaker, it's a maddening disappointment.

ScreenDaily

Pablo Larrain has been a fairly consistent film-maker in his formal invention and – the English-language Jackie excepted – in his concentration on the recent history of his native Chile. He has also been genuinely unpredictable in the range of his stylistic experiment, from the surreally-edged social drama of Tony Manero and Post Mortem; through the downbeat, introspective The Club; to the pastiched realism of docu-drama No, with its use of archaic video textures. But his audacity has never been as free-wheeling as in Ema, a drama about a young woman who takes the term ‘playing with fire’ to fearless extremes.

At once a visually expressionistic hymn to female agency and liberation, a psychological thriller that always stays one step ahead of the viewer and a flamboyant reggaeton dance musical, Ema will strike some as a heady celebration of a movie, while leaving others bemused by stylistics that sometimes overpower narrative and psychological plausibility. Much depends on how you take to the central character and the full-on presence of lead Mariana Di Girolamo. Not a little self-indulgent, Ema is Larrain’s least conventionally successful film, and is less likely to connect with audiences than his earlier work; nevertheless it shows a film-maker pursuing his own path as intrepidly as his heroine pursues hers.

IndieWire B+

An anarchic, liberated, and contagiously alive character study that feels like it was born out of a three-way between “Amelie,” “Oldboy,” and Gaspar Noe before maturing into a force of nature all its own, Pablo Larrain’s “Ema” doesn’t always dance to a clear or recognizable beat, but anybody willing to get on its wavelength will be rewarded with one of the year’s most dynamic and electrifying films.

Larrain does eventually carve out a clear(ish) plot, but most of “Ema” is about someone — someone who’s lost a valuable part of themselves, and tries to find it again by following her own unquenchable life force — getting all disoriented and fucked-up. It’s not as depressing as it sounds. In fact, it’s not depressing at all. This isn’t a sad-faced social drama about an unprepared mother who throws herself at the mercy of the courts and promises to reform her wicked ways, this is a feral and deliriously non-conformist riot of sex and rage; it’s the spray-painted portrait of a torrential young woman who refuses to water herself down.

Larrain never spells things out, and it’s entirely possible that a certain amount of social context might be lost for non-Chileans. Story is never the main focus here, as the director lavishes more attention on the day-glo sunsets of Valparaiso, the hyper-saturated city streets, and the palpable steam that rises off of them whenever Ema and her friends decide to fuck around. The film is carried along by elemental forces and emotional undercurrents; scenes don’t spur the narrative forward so much as they work to melt the space between hearts and bodies. Eventually, the way Ema moves — the way she twitches her nose at someone or straddles them into a fluorescent sex montage — becomes the story.

Локализация: Эма: Танец страсти

РФ: 20 февраля 2020 года, Экспонента Фильм.

Хм. Ди Джироламо - огонь. Армстронг - огонь. Джаар - ОГОНЬ. Но слишком агрессивный эмоциональный мазохизм для такого бредового сюжета. Слишком резко захватывающие танцы обрываются отмороженными диалогами. И это, видимо, так и задумано по какой-то необъяснимой причине. Плавно скользящая камера, снимающая движущиеся тела, постоянно резко меняется на статичные одиночные кадры с говорящими головами.

Только эффект такой, как будто каждый раз, разогнавшись и наконец набрав нужную скорость, фильм влетают в невидимую стену. Обещанная визуальная экспрессия через танец, нонконформизм, самовыражение, высвобождение личности и даже бунт против патриархата вроде как присутствуют, но смазанно и как-то на периферии, а вперёд выходит мелодрама, которую Ларраин не хочет ни развивать, ни хотя бы подобрать под неё соответствующий тон.

С другой стороны, когда Ди Джироламо двигается по экрану под пульсирующий скор Джаара, то может происходить что угодно, и это будет интересно смотреть.

Ларраин продолжает деконструировать всё, что попадается ему под руку, параллельно запихивая туда же критику социальной системы, и здесь всё ещё всё хорошо. Да, такие переходы от танцев и неона к холоду и говорящим головам зайдут не каждому, но, как мне показалось, они не ломали общий темп, и как часть концепта хорошо работают. Здесь интереснее другой момент.

Снимая анти-мелодраму про девочку, слишком рано вышедшую замуж и не понимающую до конца, чего конкретно она хочет (дети, да, но детей хочет мама), режиссёр не видит будущего ни у её брака, ни у другого, вполне себе типичного со стороны. Если его послушать, так обречён любой брак, как часть всё той же системы, которая говорит тебе, что делать. Странно, что такое пришло в голову человеку с женой и детьми. Вроде же не развёлся.