Directed by Pablo Larraín
Starring Mariana Di Girólamo, Gael García Bernal, Santiago Cabrera and Paola Giannini

Recently, I watched the very good Amazon series starring Reese Witherspoon and Kerry Washington titled Little Fires Everywhere. If I classify the ‘fires’ in this miniseries, more metaphorically speaking, as a cluster of individual flames that singes and spreads throughout each episode until they finally burst, then the little fires everywhere in Ema have already burnt out of control, metaphorically and literally, before the film even begins! What we are experiencing here is the aftermath of the inferno.

The disturbing and unfortunate series of events that are ostensibly the catalyst for the marriage of Ema (Mariana Di Girólamo) and Gastón (Gael García Bernal) crumbling by the second involve them giving up their adopted 12 year-old son, Polo, to Child Protective Services after he set fire to their house… and to the face of Ema’s sister. In between the film’s music-driven interludes and dance sequences (Gastón is the lead choreographer at a Reggaeton dance school that Ema attends), the couple’s volatile relationship is in full swing as they play the blame game, striking one verbal wrecking-ball after another each other’s way. They are simply hell-bent on recklessly destroying each other and themselves in the process. Ema explores the titular character’s complexities and expressions of emotions while clinging to the fading hope of one day being able to call herself Polo’s mother again.

This arthouse dramatic feature from acclaimed Chilean director Pablo Larraín; his first film set in present day Chile, is a tough one to recommend, despite having some truly recommendable aspects. As if the story isn’t bleak enough, you might also find yourself not liking or appreciating a single character in the film either. They are complex, but to be frank, I found them mostly repugnant. However, the film does possess a certain undeniable power that compelled me to be completely spellbound by it throughout. No doubt, the film’s aesthetic pretentiousness is a key player in that. It does exhibit some stunning imagery, great individual shots and features some impressive camerawork. The infusion of electronic music works favourably for the film too. While these aspects are and will remain hard to forget, the same unfortunately can’t be said of its narrative and pay-off. The latter is where Ema fell well short for me.

The plot trajectory and its conclusion aren’t open to interpretation, but you’re all on your own when it comes to evaluating, understanding and appreciating the reckless and damaging actions committed by our female protagonist. Your own ability to see beyond the destruction in order to resonate and empathise with the causes and triggers for such behaviour will certainly help to extinguish the barriers that have been set. Credit given where credit due though; Mariana Di Girólamo does a great job representing the seductive Ema. But in order for this character and the film’s conclusion to work, I needed to see more of a particular side to this character that’s profoundly and inexplicably unexplored.

Ema is showing in selected cinemas across Australia from May 13.

Moviedoc thanks Palace Films and The Backlot Studios for the invitation to the screening of this film.

Review by Leigh for Moviedoc

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