Pablo Larraín
Spencer is fictitious, yet grounded in reality, a prolific examination of mental health through isolation and suffocation of tradition and restraint.
In the first report from the 2021 Heartland International Film Festival, Emily Wheeler covers four films: Spencer, Ninjababy, Faceless & Being Bebe.
During her Christmas holidays with the royal family at the Sandringham estate in Norfolk, England, Diana decides to leave her marriage to Prince Charles.
In the latest report from TIFF 2021, Wilson Kwong reviews the unique biopics films Spencer and The Eyes of Tammy Faye.
Equal parts fantastic and frustrating, Ema soars sky-high but cannot maintain those heights over the course of the film.
A couple deals with the aftermath of an adoption that goes awry as their household falls apart.
Ema is not like any other film that has come out this year so far. Its celebration of female agency is like a fever dream — indescribable and euphoric.
Film Inquiry’s final dispatch from LFF is here, with reviews including Pablo Larrain’s Ema and Billie Piper’s Rare Beasts.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
With an invigorating score and fantastic performances, Jackie is also a biopic that reflects on the current environment of celebrity culture.
Instead of focusing on literary legend Neruda’s full life, in NERUDA, Pablo Larraín focuses on the time Neruda spent running from the government.
The first televised presidential debate in America took place in 1960, pitting the tanned and dapper John F. Kennedy against the sallow and literally sick Richard Nixon. It was a tumultuous time for the country, with each candidate taking tough questions ranging from the cold war to civil rights issues.
Chilean Filmmaker Pablo Larraín never mentioned the word Trilogy when he embarked on creating Tony Manero (2008), Post Mortem (2010) and No (2012), however, these three films do act as part of a whole: Larraín’s vision regarding Pinochet’s military coup of 1973 and the ensuing dictatorship. Tony Manero and Post Mortem are both grim parables of folks stuck in a moral stupor, wandering the streets of a Chile that no longer knows itself, that silently witnesses the arrest and disappearance of hundreds of people every day, violence and torture a common thing and a convenient shroud for the crimes of civilians.
