Ema (2019) User Reviews

Venice 76 Review

[Come-and-Review · 7/10 · 1 September 2019]

Larrain's movie Ema is very difficult to rate. It does have the potential of being an absolute masterpiece, it has its distinct voice, but somehow it did not convince me.

Ema has a wonderful technical style, it must be said. The photography is astounding, as is the coerography and the music that is featured in the movie. Larrain's crew definitely achieved something outstanding from that point of view. The cast was also wonderful. Bothe the lead actress and the veteran actor Gael Garcia Bernal gave us wonderful performances. It was particularly refreshing for me to see Bernal as a more mature character rather than the youngster he is well known for in Cuaron and Inarritu's movies.

It is hard to describe Ema's plot without spoiling the whole movie. What I can say is that Ema is about a woman, a modern dancer with a rebellious soul, which leads her to destructive tendencies (not self-destructive, I think this must be underlined). The film is literally mostly a portrayal of an unique female character, which is something undeniably positive, but it also has a very thin plot, that at the middle of the film seems to lead nowhere (although the action does have an ending of sorts). Ema is mostly a character study, but from a distance (the stoic approach of the performances doesn't allow the viewer to enter Ema's or the other character's thoughts). There is a touch of symbolism (pointed to by the beginning and ending scenes), but it felt either too evident, simple or too enigmatic to grasp.

It wouldn't surprise me if Ema ends up receiving a nomination in the Foreign Films category in the Oscars or any other award, because it most definitely is outstanding, but somehow, for once, I have to say that it wasn't exactly my cup of tea.

Delusions of grief and guilt

[paul2001sw-1 · 7/10 · 3 May 2021]

Ema and her partner are torn apart after their adopted son proves violent and they ultimately decide to hand him back. Trying to cope with grief and guilt, Ema procedes to seduce both of the child's adopted parents. It sounds like a crazy story, but I think the film is more intelligent than this. My reading of it is not that the events it describes are supposed to be actually happening; rather that they represent a kind of fantasy, as Ema tries to reconcile herself to what has happened and imagine a way forwards, and that the words spoken are not things that are actually said, but rather what she needs to say, and can't. Even then, I didn't really understand the final scene. As a life affirming story, it doesn't make much sense; in my interpretation, it's a thoughful meditation on the sheer difficulty of being human.

Cryptic, Complex & Abstract...

[Xstal · 7/10 · 3 May 2020]

It could be the illegitimate offspring of Lynch, Almodovar and Gaspar Noe baked at Fahrenheit 451 for good measure. Tricky to align with reality, thought provoking nonetheless, beautifully acted and imaginative.

Pretentious but beautiful

[damien-beaton · 6/10 · 1 June 2020]

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.

Not terrible then but for me this seemed confused and unfocused

[christopher-underwood · 6/10 · 23 February 2021]

Some youngsters may get something out of this, certainly more than I. Somewhat alienated by the overlong 'dance' sequence at the start and the introduction of a most unattractive looking women who struck me as psychotic from the start did not bode well. As things became a little clearer regarding the 'lost' child, so concerns for all around the mother grew. Mixed with the horrors of the limitless damage a ruthless, manipulative and vengeful, crazy woman might wreak we have pyrotechnics. At once spectacular and diverting they also added to the feeling that all was terribly wrong. Unfortunately as the troubled Ema insinuated herself within the lives of those she wished to influence story development is paused for sex scenes. I understand that no film from Chile may be considered complete without such scenes and here they were well done but sat most uncomfortably within the story supposedly around the fate of a young boy. Not terrible then but for me this seemed confused and unfocused.

Flame Thrower

[Blue-Grotto · 9/10 · 11 September 2019]

A traffic light burns late at night in Valparaiso. This strange opening scene sets an unusual and colorful tone for the rest of Ema. Gradually it is understood how the light caught fire. Mysterious undercurrents and unusual passions swirl in human hearts. Dialogue, setting, music, dance scenes and characters follow similar rhythms and are typified most by Ema herself. She is a ball of fire. Energetic, devious and unpredictable, she prowls the streets of Valparaiso seeking sparks to reignite her damaged marriage, abandonment of her adopted son, struggling dance career and volatile self.

Sometimes there is no script. This is true in acting as well as life. According to Pablo Larrain at the Toronto international film festival, the actors received plot cues only at the last minute. Fluidity and dynamism were the results. The actors explored a new language. Traditional boundaries were also pushed with sexuality, family, the atmospheric and hypnotic music, dance and more. The film toys with notions of what is feminine and masculine. Mariana di Girolamo (Ema) is perfect for the role. Gael Garcia Bernal (Ema's hubby Gaston) is reunited with Pablo Larrain (nominated for three Oscars for the film Jackie). While I prefer thought and depth to the dialogue, the non-scripted acting achieves some intriguing results. The Valparaiso scenery is as thrilling as Mariana di Girolamo.

This is the Modern day version of The Umbrellas of Cherbourg

[ongoam · 7/10 · 23 April 2022]

Pablo Larraín inspired this movie from 1964 Jacques Demy Masterpiece, which was very beautiful. And some scenes looked like Paintings. I love this movies and it beautiful.

How to fix/break things

[kosmasp · 8/10 · 14 August 2021]

Ema, the titular character ... a dancer, full of passion. Maybe even too much passion - if she was as sure of her life decisions as she was of her dancing ... life would be easier for her and her other half (played by Gael Garcia Bernal) ... and the kid they try to adopt.

But because things are never easy, she goes on a trip (no pun intended) of self discovery. Which leads to a lot of dancing, a lot of "sexy time" (nudity included) and hardships. This looks stunning to say the least (no pun intended because of the good looking leads) and tells the story in a way that may not be everyones cup of tea. But if it sparks your interest it will not let go of it. Still tough watch.

Dancing, child custody and flamethrowers

[gortx · 5 November 2021]

A departure for Chilean Director Pablo Larrain from his string of historical dramas (NO, NERUDA, JACKIE and the Princess Di biopic, SPENCER), his latest concerns Ema, a free-spirited young dancer (Mariana Di Girolamo) who is in a dissolving marriage from her older husband and choreographer, Gaston (Gael Garcia Bernal). They have given up their son for adoption and the reprisals have only intensified. The general outline has all the makings of a psychological thriller, but, Larrain and his co-writers are operating on a number of gears.

Ema, with her shock of cropped platinum blond hair, is a veritable flamethrower constantly sending out verbal and behavioral missives without inhibition. She is omnisexual and voracious. By contrast, Gaston is still and taciturn. Di Girolamo dives headlong into her character, leaving Bernal seeming even more tame than the part requires. Larrain has said that the actors weren't given the full script ahead of time, which may have hampered Bernal more than some of the other, less experienced, cast members.

Well photographed by Sergio Armstrong and experimentally scored by Nicolas Jaar, EMA has an icy sheen that can be alternately alluring and distancing - not unlike it's title character. It's certainly never less than interesting and there is a payoff of sorts, but the chaotic screenplay weakens its overall impact. Still, for the adventurous viewer, this is like a heady fractured adult nursery rhyme. Oh, and there are flamethrowers!

Captivating, Sensual, But Too Unfocused

[dommercaldi · 7/10 · 1 June 2020]

Pros: 1. The cinematography is absolutely gorgeous, especially considering the colour gradient and the superb slow camera movements. 2. Both Gael García Bernal (Gastón) and Mariana Di Girolamo (Ema) both give fantastic performances. 3. The dance scenes are greatly choreographed and are completely entrancing. 4. The emotional scenes between Ema and Gastón conversing about their failings with Polo (Cristián Suárez) and their relationship since Polo, land powerfully. 5. The score is mesmerising and it lathers the movie in emotional richness, and is always utilised effectively. 6. The sex scenes are incredibly sensual, intimate, and they succinctly highlight the depth of where Ema will go for Polo.

Cons: 1. The pacing is a little too slow at certain points, with some scenes lasting too long. 2. The plot is rather unfocused at times and it sometimes loses its way in regards to the story-telling. 3. The flame-thrower scenes, although visually enrapturing, are utterly pointless.

Disappointing

[thechair · 5/10 · 17 March 2021]

Larrain is an excellent film maker and there is craft on display here for sure, visually, and with elements of the score (not the Reggaeton - it is almost worth watching to hear Bernal's rant against what is certainly the worst musical genre on earth), but this is a chore. No element of the story really grabs, the main character is obnoxious and irritating, and the rest are neither here nor there. Probably a 4.5 but I'll give the benefit as there are moments. Hopefully his next will be a return to form. In the meantime I'll watch Jackie again.

mesmerizing

[briefexistance · 9/10 · 27 August 2020]

This is one of those films you keep thinking about regardless you've seen it a few months ago. The cinematography is beyond beautiful. Holy crap, those scenes of Ema and the girls dancing reggaetón, the company doing this performance of contemporary dance with the sun in the background, the beautiful landscape of Chile, the intimacy of the sexy scenes, the character of Ema; her charisma, sensuality, wickedness and anarchy, it's just mesmerizing. I could contemplate her forever and won't get bored. Above all, the music composed by Nicolas Jaar elevates this very well made cinematic project into a posmodernist poetic masterpiece. I LOVE EMA, And I'm grateful to Mubi for allowing users to watch this amazing film for fee.

Keeps you guessing

[michael-kerrigan-526-124974 · 7/10 · 12 May 2020]

Ema is an intriguing Chilean film about the eponymous dancer who seemingly goes through life seducing others to get what she wants. And what she wants is her adopted son Polo back in her life. It takes a while to get going but patience is rewarded. Superb soundtrack and dance choreography to boot.

looks good, doesn't make any sense

[tatsivlass · 2/10 · 22 August 2020]

Technically this filma verry well made. Good music, the dancing is nice, it all looks verry pretty. Apart from that the whol things a mess. Ema is a blatant psychopath who actively manipulates a family into granting her access to ex-adopted son who she and her husband serially emotionaly abused, which would be fine if the film bothered to try and have an opinion on but ultimately none of this seems to matter in the end. The film starts of with numerous people telling her that she and her husband were terrible parents, and they both seemed to agree because they spend most of the film telling eachother so. Then she proceeds to rope all her friends into emotionaly manipulating the boys new family into forming an polyamorous relationship so they can all look after the child. This would be fine as a plot if she then didnt sit everyone in a room including all her friends, family and the new parents and explaint the whole thing after the fact only to have everyone say OK and everyone lives happily ever after. None of the charecters change or learn anything over the duration of the film and any wrongdoing is either forgiven or forgotten becaus no one seems to care about anything but dancing and having a lot of sex. Even the child the film seems to revolve around seems like an accessory to these people even though the film is trying to put an emphasis on the value of motherhood. Other than that the film is just pretty, wealthy, artists dancing, cheating on eachother, having verry public domestics (which always seemed to involve monologues about art and philosophy) and burning things. I dont think the writers or directors cared about any charecter development or moral conflict even though they chose a verry heavy subject matter. The film starts off so gritty but ends up so far detached from any sort of reality, it seems they were more concerned with making something pretty, with pretty people in pretty locations doing pretty dances.

Complex family and relationship drama out of Chile

[paul-allaer · 7/10 · 21 August 2021]

As "Ema" (2019 release from Chile; 107 min.) opens, we see a traffic light on fire, literally. As the camera scans back, we see a woman (Ema) walking away while she is holding a flamethrower. We then get to know Ema, a modern ballet dancer, and her husband Gaston, a troupe's choreographer. They argue back and forth about the fate of their 9 yr. Old child Polo, whom they had adopted but recently was taken away by (or turned in to?) the Children's Protection Services. What did Polo do exactly? At this point we are less than 10 min. Into the movie but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from Chilean director Pablo Lorrain. In fact it's his first movie since directing hos Hollywood debut in 2016 with the widely acclaimed "Jackie". For "Ema", he returns to Chile, and more specifically the Pacific Ocean town Valparaiso (itself a character and star in this film). The film is a fascinating mix of a family and relationship drama on the one hand, and more abstract observations on the other hand, topped off with a generous dose of reggaeton music and modern dancing. Beware: the movie features a LOT of nudity, so if that is an issue for you, I'd suggest you check out something else. The cast is for us Americans completely unknown, but kudos to Mariana Di Girolamo, who is just fantastic in the title role.

As noted in the film's end credits, the entire movie was filmed in Valparaiso in September of 2018. It premiered a year later at the 2019 Venice Film Festival. Then COVID messed up a theatrical release in the US. Now 3 years later after shooting, the movie had gotten a limited theatrical release in the US. It opened this weekend at my local arthouse theater here in Cincinnati, and I couldn't wait to see it. The early Saturday evening screening where I saw this at turned out to be a private screening. I literally was the only person in the theater. Never mind. If you are in the mood for a top notch foreign family and relationship drama, I'd readily suggest you check this out, be it in the theater (while you still can), on VOD, or on DVD/Blu-ray, and draw your own conclusion.

looking for identity

[eagandersongil · 7/10 · 17 August 2021]

"Ema" new film by Pablo Larrain has a strong script that contrasts with a constant search for a visual identity.

The Chilean feature has a first act viceral and full of symbologies, we have a script that grows so much that it gets lost among its characters and tells stories we don't need to see, the deliberately distorted timeline doesn't talk to the film's editor, the which ends up making everything more confusing and tiring.

However, Ema has great performances, mainly by the couple Ema and Gaston, and a very raw and dirty photography, which combines well with the atmosphere on screen, it is also worth highlighting the great soundtrack, and the sentimental expression of the plot through basically video clips.

Pablo also makes beautiful open air shots, which while cute are claustrophobic and dirty, makeup and costumes are also great, highlighting each character's unique personalities.

"Ema" is a visually interesting film, with a good direction that proposes to do more than the plot asks for, getting a little too contemplative and allegorical, and problematic editing, but we have great elements, good acting and an interesting script . NOTE 7.5/10.

The editing, cinematography and camera work are godlike

[mikeluriarte · 10/10 · 1 February 2020]

The editing, cinematography and camera work in this movie are godlike. A very interesting approach to the life of a female dancer that chooses a music style that is well known for defaming women but decides to go around that concept in order to reveal herself.

I highly recommend his previous films, Pablo Larraín is a great director, do not miss his work.

By No Means A Must-Watch

[sps-70659 · 6/10 · 24 April 2021]

Larrain has done better movies. This time, there's less to it than meets the eye and ear. The scenic city of Valparaiso is the best actor in the movie, while the pulsing soundtrack overplays its hand.

You can enjoy the dry humour, the local culture and swiftly shifting alliances, but the main problem is the eponymous female lead. Whose intersecting compulsions of narcissism, pyromania, dancing, and evil-doing, are sometimes hard to follow and not always easy to believe.

Self-absorbed Ema thinks she is a fascinating character. The director rather agrees - but he doesn't always make the case to the viewer.

Wasn´t expecting much

[ssrojas-30055 · 9/10 · 5 December 2019]

I went to watch this movie expecting to hate it. When i saw the trailer i thought it was going to be, like the title of another review, stylish garbage. Is not that. I am 33 and from latinamerica, where regeton is very dominant... and i hate regeton, i find that is vulgar, and repetitive. So, to go watch a movie that focus that much on that type of music was a surprise for me, becasue i loved it. Aesthetically, is brilliant. I found that the image is sublime and the music was immersive and defiant. Combined with dances is used as a mean for micro revolutions in the plot. Also is quite interesting how regeton personifies a battle for philosofical discussion between Gael garcia (whos character is in his 30´s and has a conservative pov) and Mariana Di Girolamo (whos character is in her early 20´s and has a progressive pov). Most of the interpretations are brilliant Finally, the script is not the strongest pont, but unfolds as the movie develops, showing just enough until the final part. If you have a chovinist, conservative or boomer mentality, you will hate this movie, that is guaranteed

Visually and emotionally jarring

[i_odin · 7/10 · 21 May 2020]

Convoluted Emotional Mess but in a beautiful way.

Ema, is probably one of the few films which delve so deeply and unapologetically towards its character's sexuality and flaws. Strong performances, coupled with a mesmerizing music and a visually striking cinematography makes this film a very special one.

None of the characters are likeable and that is very much the essence of the film. The emotions are honest but probably doesn't permeate through the screen enough at times. They stay there with those characters and the world which has been crafted beautifully.

But none the less that world seems real at every point of time. Real enough for creating cinematic magic.

another "auteur' movie...

[ricarsarav · 1/10 · 22 March 2021]

Having grown up in latin america, i can tell you that people don't behave like the people in this movie; the characters, very unlikable and forced, talk in a raspy voice, which is not normal, but it is surely intended to give it a sense of...something, something serious, something "real", making it very unreal and laughable. the movie, if not the director, takes itself very seriously, and the end result is a very gay, very self-absorbed idea that has nothing to relate to. don't waste your time with this one.

Dysfunctional Family

[charliemaddocks · 8/10 · 18 May 2020]

This movie feels like a mixture of Loveless, Parasite, Climax & We Need To Talk About Kevin, which are all films I love, so safe to say I enjoyed this movie too.

Every frame is filled with gorgeous colours which didn't feel too out of place, even if they did feel like such obvious stylistic choices. Its almost like you could believe anything was real in this bizarre world these characters live in where sex, expression and dance are everything and can be shared with anyone.

Worth watching if you like dark films that make you question social constructs and makes us remember that at the end of the day we are just animals.

Good but not that good.

[linhchivncb · 6/10 · 9 May 2021]

Still, I would recommend to anyone who likes studying cinematography and have some time to spend watching people doing problematic stuffs.

Good visual!

[Sekho · 5/10 · 21 July 2020]

The image, the colors and the music is the only good thing about this movie. Unnatural dialogues make the movie look too baggy and fake. The relationships between the characters were also SO unreal that they made one as a spectator not connect with them. As always in Chilean movies, it is full of sex scenes. It seems that the writer took advantage and gave himself the fetish to see all the young Chilean actresses of the moment naked and kissing each other. I highlight the performance of Mariana Di Girolamo in her first leading role in the cinema. 5/10.

Dazed

[trishhani · 7/10 · 21 May 2020]

The title of my review is exactly how I felt watching Ema. It is difficult to put to words exactly how I feel after having just watched the movie.

Ema is the story of a fiery young woman, who acts based on her instincts, almost inconsequentially. She is a struggling dancer, flirtatious and confident in nature dealing with the aftermath of "returning" her adopted son to the system.

The editing and cinematography captures the attention of the viewer, you almost forget you are supposed to pay attention because it is still a movie with a plot that must be followed in order to understand what is going on. However, thats exactly it! There isn't much of a plot, it is more of us a viewer observing the very raw sides to humanity, lust, guilt, despair, disgust. The scenes, the actors, the colours, the camera work has an inexplicable undercurrent that leaves you.....dazed from start to finish. When the movie comes to an end, you start to breathe a little normally again.

It's hard to say, though I enjoyed it, I am torn as to whether this was an objectively good film or not. The plot lacked substance, direction and purpose but the cinematography and musical score brought me on a journey I would certainly embark on again.