One of Lelio’s best-known works, this somewhat nondescript Chilean film strongly focuses on characterisation and performance as a divorcee navigates her silver years in hopes of starving off chronic loneliness.
Larrain imagines Pinochet as a still-alive vampire in this darkly comic if sometimes absurd take on tackling national historical trauma—it doesn’t work that convincingly but one can admire the conceptual vision.
With bizarre artifice and sheer ingenuity, Jodorowsky’s second autobiographical film celebrates life and art.
Jodorowsky’s return to filmmaking after 23 years is a dazzling, self-indulgent portrait of his childhood under the surrealistic veil of psychomagic.
Shot with a static camera in a perpetual medium close-up of the lead character, this disquieting Chilean take on the perils of being a social media celebrity rings hollow, ironically in a phenomenologically truthful way.
Visually and aurally invigorating and mesmerising, yet challenging for viewers to connect with its titular character, Larrain’s latest may be a bold stylistic departure but is arguably his weakest effort in a long while.
This strong early effort by Chilean director Pablo Larrain is one of his edgiest character studies on nihilism and pop culture obsession in the context of political oppression.
You can count on Pablo Larrain to imagine an unconventional and layered ‘biopic’ that speaks volumes of cinema’s potential in historicising and poeticising the legacy of a great man.
Intentionally shot in drab lighting and colour, Larrain’s follow-up to ‘Tony Manero‘ may be lacking in genuine emotions, but is unsettling and clinical.
A dramatization of Chile’s 1988 historical referendum through the eyes of a campaigning ad executive with quite impressive blending of archival footage and period detail.
Eternality Tan 