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Shows<br />
Shows<br />
9 A Tribute to Pablo Larraín<br />
P/Sun 7PM - C/Mon 9AM<br />
9a Neruda<br />
P/Sun 7PM - C/Mon 9AM - G/Mon 12:30PM<br />
Over the course of a decade, Pablo Larraín has become Chile’s preeminent<br />
artistic voice. Beginning with the 2006 thriller FUGA, Larraín has built<br />
an astonishing filmography that explores his country’s complex national<br />
identity. He has become a central figure in Chile’s resurgent cinema,<br />
producing, with his brother Juan de Dios, films from Sebastián Lelio and<br />
Sebastián Silva. And his own latest, NERUDA, makes clear his career is still<br />
on the ascent.<br />
The child of two prominent politicians—his father, a senator, and his mother,<br />
the former Minister of Housing and Urbanism—Larraín achieves his own civic<br />
duty by poeticizing Chile’s past and present. His devious satire TONY MANERO<br />
(2007)—the first in a trilogy of films confronting Chile’s dark years under the<br />
grip of the Pinochet dictatorship—followed a Saturday Night Fever-obsessed<br />
psychopath (hauntingly portrayed by Larraín perennial Alfredo Castro) willing<br />
to kill as a means of advancing in an outrageous dance competition. The<br />
eerie tale, set in the late 70s, provided a keen allegory for the unseemly<br />
contrast between America’s bright popular culture and sense of grim<br />
entrapment percolating through Chilean society at the time.<br />
The unnerving POST MORTEM (2010) follows a somber morgue worker who<br />
loses his mind in the aftermath of the military coup that unseated Salvador<br />
Allende. Larraín concluded his trilogy with the semblance of hope: 2012’s<br />
Oscar-nominated NO tracks the efforts of the activist group (headed by Gael<br />
García Bernal in a career-best performance) responsible for the propaganda<br />
campaign that successfully unseated Pinochet in 1989. Shot in the grimy<br />
video of the era, the film is a clever anti-thriller that encapsulates both the<br />
paranoia of the time and one group’s ability to push beyond it.<br />
Made possible by a donation from Elizabeth Redleaf<br />
1948. Chile’s acclaimed poet and leftist Senator Pablo Neruda, charged<br />
with treason, goes into hiding. Director Pablo Larraín (TONY MANERO, NO)<br />
sees these events through the eyes of a resentful cop giving obsessive<br />
chase. The marvelous Luis Gnecco plays Neruda with eloquence and comic<br />
intelligence, and Gael García Bernal does the same as his pursuer, a secret<br />
sharer of Neruda’s imagination. Working from Guillermo Calderón’s script,<br />
with its echoes of Brecht, Bolaño and Borges, Larraín fashions a lyrical<br />
political essay that’s also a sly tribute to the tropes of film noir and an<br />
intricate meditation on the irresolvable tension between aesthetic and<br />
political desire. Just 39 years old, Larraín has made four fine films in<br />
the last eight years. But this astonishing reinvention of the biopic is<br />
undoubtedly his masterpiece to date. –LG (Chile/Argentina/France/Spain,<br />
2016, 107m) In person: Pablo Larraín, Gael García Bernal, Luis Gnecco<br />
10 Things to Come<br />
S/Fri 5:30PM - N/Sat 1:15PM - C/Sun 5:15PM QnAQ & A<br />
Having exorcised the demons of the Pinochet years, Larraín flashed forward<br />
to the present for EL CLUB (2015), a haunting minimalist portrait of<br />
disgraced priests living together in exile on the Chilean coast. Once again,<br />
Larraín combined a pitch-black comedic sensibility with astute observations<br />
of a distinct societal problem, alongside his radical ability to sympathize<br />
with deeply flawed people.<br />
Made possible by an anonymous donation<br />
Larraín now proves a perfect fit for exploring the legacy of another Pablo—<br />
Nathalie (Isabelle Huppert) has entered middle age with a meticulously<br />
the seminal poet, senator and expert raconteur Pablo Neruda. Luis Gnecco<br />
ordered life: a compatible husband (André Marcon), healthy grown<br />
delivers a vivid (and accurate) performance as the titular figure in the<br />
children, and a career in teaching and scholarship to which she is<br />
energizing NERUDA, which plays out less like a biopic than a Neruda poem<br />
passionately devoted. When sudden, devastatingly unexpected changes<br />
itself. The story finds its unique angle in the cunning police investigator<br />
test Nathalie’s intellectual convictions, she is forced to confront the<br />
Óscar Bustamante Peluchonneau (Bernal again) tasked with following the<br />
never-ending incongruities and surprises, small and large, of emotional<br />
poet’s trail, creating a cat-and-mouse dynamic that becomes a more intimate experiences that she thought were long resolved. Isabelle Huppert, surely<br />
affair. Already one of the most exciting and unpredictable filmmakers<br />
one of cinema’s greatest actors, is at her effortlessly hypnotic best,<br />
working today, Larraín salutes one of his country’s greatest storytellers by<br />
deploying the special genius she has for demonstrating the inseparability<br />
matching his talents. –Eric Kohn<br />
of feeling and thought. Her brilliant performance meshes perfectly with<br />
the calm, dispassionate tone and subtle observation of writer-director Mia<br />
The program includes a selection of clips followed by the presentation of<br />
Hansen-Løve (THE FATHER OF MY CHILDREN, GOODBYE FIRST LOVE), who<br />
the Silver Medallion, an onstage interview led by Mark Danner (Sunday) and has clearly entered the ranks of France’s finest filmmakers. –LG (France/<br />
Davia Nelson (Monday), followed by NERUDA (see opposite page), shown in Germany, 2016, 100m) Preceded by PLEIN ÉTÉ (d. Josselin Facon, France,<br />
its entirety.<br />
2016, 6m). In person: Mia Hansen-Løve, Isabelle Huppert<br />
10 11
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