Pablo Larrine
Pablo Larrion, Chile's "national treasure" director, was shortlisted for the main competition section of the 76th Venice Film Festival, and "Irma" is a queer film directed by South American directors about the family, adoption, and the fate of the fall apart. The colors of the images are brilliant and bold, conveying the characters and narrative tension. This isn't the first time he's touched on queer images, as producer of "Ordinary Woman" in 2017, which won the 90th Academy Awards for Best Foreign Language Film, is about the plight of a small number of people in today's society and has caused a lot of resonance.
Irma
Pablo's film is like a pair of eyes that reflect society, the entry point is accurately placed in the realist work, and the objective analysis and metaphorical symbols will resonate. In 2012, he directed the political theme film "Chile Say No" (which constituted the Pinochet trilogy with the previous film "Killer Night Fever" and "Aftermath") and was nominated for the 85th Academy Awards for Best Foreign Language Film, which is also the first Chilean work to be nominated for the Oscar for Best Foreign Language Film; the Catholic-themed film "Priest Club" won the Jury Prize at the 65th Berlin Film Festival in 2015 and was nominated for Best Foreign Language Film at the 73rd Golden Globe Awards; and the 2016 Pablo Neruda biopic "Pablo Neruda". The Hunt for Neruda and Jacqueline Kennedy's biopic First Lady were both well received, with the latter selected for the main competition at the 73rd Venice Film Festival.
The First Lady
The new film "Irma" will reflect the current situation of the dancer group, in Pablo's view, dance is not only an art, but a medium, reflecting the poetic expression of the traces of the city.
The Hunt for Neruda: The Poetic Symbiosis between The Police and the Fugitive
Pablo excels at portraying a real event in lyrical mirror language and from different angles, such as this unusual biopic. It is like a poetic labyrinth that dissolves the poet's own autobiography, and the story revolves around the perspective of others. In the film, Neruda is no longer the only protagonist, and he is also dependent on the opposite policeman Oscar Peluciano. The film begins with his monologue, revealing the lesser-known side of Neruda — a fugitive hunted down by the government, a cunning fox who escapes with the help of his surroundings, a selfish and paranoid collaborator, and a prodigal son who is not willing to be lonely and seeks pleasure everywhere.
The Hunt for Neruda
Every time the poet escapes, he leaves a detective novel for the pursuing policeman, as if he wants to get a close feel for his pursuers, not hiding in a place they can't find. And the policeman Who received the novel, Peluciano, while following in the footsteps of the poet, looked at his novels, read his poetry collections, and gradually lost his identity - he thought of himself as the son of a police detective and a prostitute, and now he seemed to have become the son of Neruda... Who the hell is he?
Neruda's second wife once said that Neruda had absolute creative sovereignty over the hunt, declaring the fictionality of the character of the policeman: "In his script, we all revolve around the protagonist... He created you and wrote you as a pathetic cop."
But this policeman is by no means a supporting character, an important figure in symbiosis with the poet fugitive.
The film finally culminates in the Andes Mountains in southern Chile, where Pelucciano chases alone on the snowy mountains, the snow falls over his knees, the sweat gradually freezes at the top of his brow, and in the cold wind he still does not stop the pursuit of the fugitive, and finally meets Neruda before he completely falls, and he angrily shouts Neruda's name: "Pablo!" Pablo! His heart was extremely lost: "I have been chasing the eagle, but I have never been able to fly." Neruda, on this side, heard Peluchanu's cry and described it unexpectedly: "Yes." I knew him, he was my police officer, my persecutor. At this time, the poet's monologue sounded at the same time, coinciding with the words of the police detective: "My ghost in police uniform." I dreamed of him, and he dreamed of me. He observed me and investigated me. You look at what you wrote down for the officers, you wrote about the snow and the horses. You shaped me. "It's as if the poet is the character being portrayed.
It is well known that Neruda was persecuted and hunted down in World War II, but this surreal story of the police arresting prisoners is not examined, and the charm is that it seems to be a poet's own fictional story, and he is happy to immerse himself in the story, when he conceives the "prince" in the novel, which may be the charm of a great writer.
The film also explores the blurred line between left-wing and right-wing parties, from Peluciano, a good social youth who supports conservative beliefs, to Neruda, the leader of the Chilean Communist Party, to the melancholy proletarian maid in the restaurant, and we can see in their poetic discussions that they have doubts about the future of the country. Some looked at the left-wing elites with disdain, thinking they were out of touch with the people. "Artists, intellectuals, lawyers, they have traveled the world, returned with a full load, indulged in pleasure, and did not feel the sweat of the poor." Others ridiculed the Communist Party's ignorance: "They hate work, they'd rather burn churches, it makes them feel more energetic." Until the poor women workers pointed to the elite leftists who had never been poor and asked, "When communism was achieved, was I like them, or were they like me?" At that time, from the stunned eyes of those around them and the silence of the words, some people were constantly awakening in this divided struggle.