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Critics reviews
Ema
Pablo Larraín Chile, 2019
Mariana Di Girolamo is a blinding force throughout the film, a walking, talking avatar for the flickering fire she is so often drawn to. She is brash and destructive, and suppresses a feral energy within her tough, skinny frame.
May 01, 2020
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Ema is like a cord of emotional firecrackers and their creative destruction. Pablo Larraín has made a film-phoenix.
May 01, 2020
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Ema is an astonishing film. Constructed of peppery conflicts and passionate affairs, emotionally fraught speeches and tender embraces, most of them elicited by Ema herself. She glides through the film wearing an inscrutable smile, certain of herself and her plan of action.
April 30, 2020
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Following Jackie, Pablo Larraín offers another powerful examination of grief, capturing all of the confusing and fascinating layers of human relationships. Despite the heavy subject matter, it’s intoxicating.
April 20, 2020
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In his first film set in contemporary Chile, Pablo Larraìn relays a story of wicked energy within a system that doesn’t recognize itself as such anymore.
September 10, 2019
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It would be all too easy for Ema to pass judgment on its protagonists, whether over their reflexive rejection of parenthood in the face of its hardships, their combative relationship, or their sexual promiscuity, but Larraín is too interested in the ambiguity of the characters’ physical expressions of their inner selves to condemn anyone.
September 08, 2019
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We just don’t get movies about women like Ema, the title character of Pablo Larraín’s scratchy, bizarre, phosphorescent Venice Competition film.
September 03, 2019
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