Battle lines have sharpened dramatically in Chile since “Ema” had its premiere at Venice Film Festival in August
FOR THE international release of a film about disruption to be disrupted is fitting, if unlucky. Scheduled cinema screenings for “Ema” have been called off due to the coronavirus pandemic, but audiences in Britain, Ireland and Scandinavia can watch the latest film by Pablo Larraín, a Chilean auteur, via MUBI, a streaming service, throughout May. Fortunately, the film has more than enough hallucinatory potency to captivate on a smaller screen.
Desperate to be reunited with Polo, Ema launches an all-out war. She cavorts around the city after dark with a flamethrower—a prop belonging to their dance troupe—torching traffic lights, fairground rides, statues and cars, and unleashing plumes of napalm into the night sky. She begins an affair with a firefighter, Aníbal, who puts out one of the blazes.
The plot more or less coheres, and Ema’s plan falls into place. The unorthodox arrangement keeps both sets of adoptive parents in the picture and meets the emotional needs of Polo, Ema and Raquel; it leaves the husbands stunned but not entirely dissatisfied. Aníbal once dreamed of starting a new civilisation, or at least a different culture, within the traditional nuclear household. Gastón hisses that Polo will always resent Ema for giving him away.
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