Such words are frequently used to describe the Chilean director’s films, which often hinge on a moment of crisis – and how people reconstruct themselves in the aftermath.
“You can only create with someone that you have a lot of trust with, a lot of care as well – I love his boldness and bravery.” “I think that from the beginning, we started to develop a relationship,” Bernal says.
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He’s like: are you free this day? And I’m like: yeah, OK fine.” Ema marks his third collaboration with the director, having previously starred in No, a 2012 movie about an ad exec in 1980s Chile who spearheads a campaign against the military dictator Pinochet, and 2012’s Neruda, an ‘anti-biopic’ of a Nobel Prize-winning Chilean poet Pablo Neruda, who became a fugitive in his own country after publically defying its goverment. “It’s a very boring answer, but really just needs to call me and say the word. Not that Bernal knew any of this when he took the role, having not even read the script prior to signing up. She is a prickly peroxide-blonde dancer and dance teacher, seduced by the bacchanalian sexual impulses of reggaeton, the music which reverberates around the city’s tower-block courtyards he is older, a cold-blooded choreographer of the contemporary dance company Ema is a part of, whose work seeks to reproduce the authenticity of Chilean folk dance with arty, installation-like performances (the opening scene sees his Vanessa Beecroft-esque dancers circulate rhythmically in front of a vast projection of a burning sun). The film is set in the port city of Valparaíso in Larrain’s native Chile, and interrogates the relationship between the titular Ema (Mariana Di Girolamo) and her husband Gastón, played by Bernal, in the wake of an adoption gone awry.
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Now, Ema, first shown as part of the Venice Film Festival last year, will instead hold a virtual premiere for free on MUBI today, before being available to the platform’s members to view for the next 30 days (in support of cinemas, MUBI has launched a campaign to support the BFI Fan Covid-19 Resilience Fund, which will offer relief to film exhibitors across the UK). Around the world, cinemas shuttered overnight, with little indication of when – or in the case of independent cinemas, if – they would open their doors again. I miss that.”īernal’s latest film Ema, by the Chilean director Pablo Larraín – whose previous work includes the films No, The Club and Naruda, as well as three-time Academy Award nominated Jackie, Larraín’s English-language debut – was due to be released into cinemas this month, distributed by the streaming platform MUBI. There’s a very personal relationship to it. “It’s this place you go and you pay and you discover something. And for a long time, I guess.” Still, he misses the physical experience of being in a cinema, where you can lose yourself in the darkness and truly escape. “It is the way we’re going to travel for now. “To have the access to all of these films from all over the world, from whatever era, is really, really incredible,” he says. Currently, that’s films from 1930s and 40s Mexico next, he plans an immersion into Egyptian cinema. The Guadalajara-born actor – who first found fame in Alejandro González Iñárritu’s Amores Perros in 2000, and a year later, a lauded turn in Alfonso Cuarón’s Y Tu Mamá También – is finding other unexpected balms to confinement, like finally having time to watch those movies that he always said he was going to watch but never quite had time for.
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“Everything becomes so full of trees and plants and animals,” he intonates. If this seems like the esoteric musings of a movie star, Bernal is – like the rest of us – confined to his home, where the simple pleasures of a change in season are enough to ignite a wave of enthusiasm emphatic enough to translate over a transatlantic Zoom call. It is currently rainy season in Mexico and the actor Gael García Bernal has been enjoying watching the plants grow on his terrace garden in the country’s capital – “I love it,” he enthuses.
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