Pablo Larrain
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Angelina Jolie to Receive 2024 Gotham Awards Performer Tribute
Angelina Jolie will receive the Performer Tribute for her performance in Pablo Larraín’s Maria at the upcoming 2024 Gotham Awards, the Gotham Film Festival & Media Institute announced today. Jolie plays iconic opera singer Maria Callas in the Paris-set film that finds Callas, in her final days, processing her life and career on stage. It follows films by Larraín about other 20th century women icons, including Jackie Onassis (Jackie) and Princess Diana (Spencer). “Like the legendary figure she portrays, Angelina Jolie transcends mere performance to craft something extraordinary,” said The Gotham executive director Jeffrey Sharp in a press release. “Her […]
by Filmmaker Staff on Oct 31, 2024 -
“I Try to Expose Myself to Unknown Territory”: Pablo Larraín on Ema
Ema is Pablo Larraín’s eighth feature film but has the energy of a new beginning. When I saw it at Sundance 2020, this boldly experimental narrative seemed like a new approach from the established director who had put Chilean fiction filmmaking on the international map in a new way with a rapid-fire series of films that included the Academy-nominated No (2012), Berlin Silver Bear winner The Club (2015) and Neruda (2016), as well as US projects Jackie (2016) and the recently released HBO series Lisey’s Story. A month after the festival, images from the film lingered in my mind, in […]
by David Barker on Aug 16, 2021 -
“It’s Not That Strange, and It’s Not That Weird!” Pablo Larraín and Mariana Di Girolamo on Ema
With Ema, Chilean director Pablo Larraín moves away from the biopic (Jackie, Neruda) and the past history of his country (Tony Manero, Post Mortem, No) to turn towards its future. The film centers on Ema (Mariana Di Girolamo), a young reggaeton dancer who sees her marriage with celebrated choreographer Gastón (Gael García Bernal) crumble after their “failed” adoption. A simple enough story, but already in the film’s earliest scene, the surprising behaviors and reactions of the characters hint at their extremely modern identities. Ema and Gaston are unspeakably cruel to each other, but in their own way, they are incredibly […]
by Elena Lazic on Sep 19, 2019 -
TIFF 2019, Days 7-9: Collective, To the Ends of the Earth, Ema
One benefit of an extended stay at TIFF (if you can swing it) is is allowing time for friends with trustworthy taste and far more patience to slog through non-obvious titles, then adjusting my endgame schedule accordingly for what they recommend. Hence the unexpected highlight of 29 TIFF screenings (24 features, four Wavelengths shorts programs and one revival screening of Pickpocket), Alexander Nanau’s verite doc Collective, about a scandal that had entirely passed me by. Opening title cards establish the fundamentals: a pyrotechnics accident at a 2015 concert led to a fire killing 26 on site, the death toll swelling to 64 […]
by Vadim Rizov on Sep 13, 2019 -
Omnipresent Poet: How Pablo Larraín Captured the Essence of Neruda Without Simplifying His Humanity
Reconciling the flawed humanity of a person with their extraordinary deeds means accepting that both vice and virtue can coexist. Ditching the narrative shackles of biographical films that aims to encompass the entirety of a person’s life, even if that means just piecing together a sequence of significant events, Chilean auteur Pablo Larraín inventively designed an iridescent impression of his homeland’s most notable artist, Pablo Neruda, which captures his essence without simplifying his humanity. No stranger to revisiting Chile’s most scabrous historical passages through a fictional lens that neither condemns nor absolves, in Neruda Larraín presents the man as a masterful poet, lazy communist, seductive […]
by Carlos Aguilar on Dec 28, 2016 -
Trailer Watch: Pablo Larrain’s Jackie
Pablo Larrain’s Jackie is one of my favorite films of the year. You can read my interview with the director in the current print edition of Filmmaker, and you can see more of the film in this new trailer, just out from Fox Searchlight. It’s more revealing than the earlier teaser trailer Stephen Garrett wrote about here, and, in some ways, quite different in tone, foregrounding the political mythmaking element of the story. Check it out above.
by Scott Macaulay on Nov 14, 2016 -
History in Under 90 Seconds: Critiquing the Barry and Jackie Trailers
Stephen Garrett’s “The Art of First Impressions” is one of Filmmaker‘s most widely read articles, an insightful and incisive guide to making a great movie trailer. We’re happy to have Garrett, who is not only a critic but also the founder of the trailer and marketing house Jump Cut, back writing for Filmmaker, beginning with a regular series on the creative direction of today’s most noteworthy trailers. This first installment begins with Garrett examining teasers for two films about political figures acquired by their distributors out of the Fall festivals: Barry and Jackie. — SM Despite a punishing election season […]
by Stephen Garrett on Nov 2, 2016 -
A Woman Above Everything Else
The camera pushes tight in on Natalie Portman’s distressed face, a layer of 16mm grain putting a slight filter on her perfect features. From the very beginning, we’re too close; the customary distance from an iconic first lady is gone. Also missing are biographical flashbacks, or early happy moments, or pretty montages locating Jacqueline Bouvier Kennedy within the tapestry of her husband’s life and administration. No, Pablo Larraín’s Jackie, which follows the first lady in the days following John F. Kennedy’s assassination, begins in a kind of emotional media res, a heightened state accentuated by the dark chords of Mica […]
by Scott Macaulay on Oct 20, 2016 -
Trailer Watch: Pablo Larraín’s Jackie
Revealing enough but not too much is this first teaser trailer for Pablo Larraín’s Jackie, for me, one of the best films of the year. Natalie Portman stars as the widowed First Lady, Jacqueline Bouvier Kennedy, in the days following her husband’s assassination. In addition to being a bold psychological portrait, it’s also a clear-eyed dissection of the Camelot myth, referenced here, ironically, through Richard Harris’ singing.
by Scott Macaulay on Oct 5, 2016 -
Studio 54: The New York Film Festival, Part I
On the evidence of the finest films in the first third of this 54th edition of the New York Film Festival, those familiar with the exhibitionistic, amped-up social set that frolicked in, gawked at, or read about the notorious, dear-departed Manhattan night spot might find it ironic, or a misnomer, that its moniker is my appropriated title for this initial NYFF feature. Sure, Lincoln Center ranks far lower on the cool scale than the legendary club, but, a testament to tenacity, merit, and resilience — how it has managed to survive continuous power struggles and administrative shuffles of parent organization […]
by Howard Feinstein on Sep 29, 2016
