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Monday, 6 August 2018
Pablo Larraín and Gael García Bernal Re-Team for ‘Ema’
Formal experimentation continues to be the name of the game for the duo behind ‘No’ and ‘Neruda.’
Sometimes, filmmakers are blessed with the joy and security of finding their perfect muses, and frankly, there is little sense in letting go of that kind of creative marriage between phenomenal on- and off-screen talent. This is exactly the case for the dream team that is director Pablo Larraín and actor Gael GarcíaBernal. After making two knock-outs on the big screen together — No and Neruda — the pair is back in action with something potentially different.
IndieWire dropped the news that Larraín and García Bernal are preparing to shoot Ema. Written by Guillermo Calderon (Neruda) and New York-based playwright Alejandro Moreno, the movie will be — according to Larraín — a “melodrama” tackling the concerns of relationships and the “affections” that accompany them.
Set against the backdrop of the Chilean seaport Valparaiso, Ema is an original story centering on the struggles of a contemporary family in crisis. The film will star García Bernal in the role of a dance choreographer who is married to a school teacher portrayed by newcomer Mariana Di Girolamo. Together, the couple must deal with an adoption that goes terribly wrong, and the family unit slowly crumbles under the weight of a slew of emotional stressors.
Although such an emotionally taxing premise is not uncommon in the drama genre, Larraín plans to use a fascinating tool in order to express all that intensity: contemporary dance. IndieWire notes that a variety of dance genres — including reggaeton — will play a big part in developing the filmic language of Ema and will help to narrate the main dramatic throughline in the movie.
Larraín intends to shoot Ema in the vein of real-life street dancers and will work with local choreographer Jose Vidal. Valparaiso’s hilly landscape will also be showcased in its full potential in the film. As Larraín states:
“[Dance is] a way to transmit a message — it could be a political message, or a religious message, or a kind of vandalism. Instead of yelling, they go out and dance. They’re expressing themselves by leaving a trace on the city. It’s very visual.”
Dance will serve as a mechanism of meaningful, emotional abstractions that make Ema unconventional and noteworthy. There’s ample reason to be excited about this, given that it lines up with Larraín’s general proclivity for experimentation. Throughout his filmography, the blatant use of metatextuality creates a deeper and more variable experience of art.
Subjectivity is vastly important to Larraín’s craft. Looking at No and Neruda, these films don’t simply provide some insight into history. In fact, they make for poor interpretations of the past if we were to assess them by accuracy alone. Regardless, No and Neruda ultimately end up being more bracing and memorable because Larraín consciously reminds audiences of their place as interpreters of these narratives, too. We are looking at atypical historical dramas here, after all.
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