Ema (Pablo Larraín, 2019)

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DarkImbecile
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Ema (Pablo Larraín, 2019)

#1 Post by DarkImbecile » Fri Apr 24, 2020 3:36 pm


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knives
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Ema (Pablo Larrain, 2019)

#2 Post by knives » Fri May 01, 2020 2:48 pm

Man, Larrain just keeps getting better and better. This is such an insanely good film.

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Re: Coronavirus' Effect on the Entertainment Industry

#3 Post by DarkImbecile » Fri May 01, 2020 2:51 pm

Thanks for the reminder! I would have been mad at myself if I'd missed it

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knives
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Re: Coronavirus' Effect on the Entertainment Industry

#4 Post by knives » Fri May 01, 2020 2:53 pm

I'm at a loss of words for it beyond saying it is has several of the best dancing scenes in the past several years and about five performances that are the best. The movie also ends with a reasonably charming Q&A from the star.

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Re: Coronavirus' Effect on the Entertainment Industry

#5 Post by therewillbeblus » Fri May 01, 2020 11:26 pm

Ema is such a special film about the burning fire in the pervasive act of feeling that it almost seems an injustice to honor it with words. From the paralyzing opening shot, Larraín fuses the most pulsating beauty with destruction, which emits its own hues of beauty in its magnificence. I work with women like Ema everyday, and what appears on paper as a retired concept becomes a deeply humanist work that reminded me of The Florida Project in its nonjudgmental -though not fully endorsing- composite of a complex young woman in a social context many of us cannot begin to fathom, here focusing on her exclusively not the child, except instead of aloof realism in the Baker, this operates under dripping style to elicit emotion. And my god does it.

This is one of those films that does something only movies can do as far artificially composing music, visuals, and performance together to provide a soaring insight that celebrates humanity in enigmatic methodology. There is immense tragedy, resentment, and pain brewing under a cloak of personal history exposed, humiliated, neglected, protected, and surrendered, in every which way. And yet this is a film about expression, about the deep need to shout our souls out from every possible outlet, and Larraín uses every crevice of the medium to flood us with this passion. Polo does it in his own twisted way, as do all the characters and all of us, and there is enough performance art on screen to emphasize the similarities between artifice and authenticity. This is, as Ebert would say, exhibit A of movies as machines that generate empathy, the complex experience of living left in the only space that is honest: pure unfiltered spirit with the confidence to remain in the normally uncomfortable stew of sentiment and sensation, and somehow make it feel tangible. This is emanated partly by Larraín detailing avenues we commonly take in culture to make our inner stirring intensity tangible, in movement, sex, touch, style in fashion or haircuts and dress, creation and destruction.

Comparisons will inevitably be made to Jackie regarding themes of history and loss, though while both films investigate these ideas, especially in how their leads cope with the nebulous experience of each, Ema is about reclaiming that powerlessness with commitment to agency, forcing oneself into the world with effort that demands recognition for its inspiration.

It feels impossible to write about this film without praising Mariana Di Girolamo’s electrifying performance and Nicolas Jaar's riveting score, which if there was any justice would take home automatic Oscars. Ema’s greatest strength is that she has the courage to express herself, and the same can be said of Larraín’s Ema as a piece of anthropological art. Some people will be repelled by her character, just like they were by the mother in Baker's film, but for those who can emerge from the problem-focused lens straining our society and get on this film’s wavelength, this is an exposition for everyone who has wanted to light the world on fire, to create and destroy, to manipulate the muscle of the will, which- some may say - is all we really have. Bernal talks at one point about the illusion of freedom, and another man speaks of a preoccupation with good vs evil, but for Ema and Larraín there is only exhibition of emotion through energy. And that shatters any philosophy that tries to tame it.
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The revelation that Ema’s apparently destructive elaborate scheme was actually all about issuing control, and creating ties rather than disbanding them, is a powerful moment completely in step with the film’s rhythm, absolutely brilliant and in any other film would be impossible to pull off. Another example of the intricate, mystical truth of the inherent cyclical alliance between creation and destruction, the yin igniting the yang with life and vice versa.
The final shot solidifies the metaphor of the film so perfectly that I had to rewind it back several times to make sure I read it right, and then a few more just to hold onto that message. Larraín has crafted a film that in every single way should be depressing and instead is one of the most optimistic I've seen in years, and maybe ever. I don't know how he pulled it off, but I don't really care. It's his magic trick and I'm grateful to be gifted it.

This is what a singular, extraordinary, liberated work of art looks like, and it's the best film of the year so far.

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Re: Ema (Pablo Larrain, 2019)

#6 Post by goblinfootballs » Fri May 01, 2020 11:57 pm

Did anyone else see the image get slightly brighter every time there were subtitles? My only complaint was how distracting that was at first.

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Re: Ema (Pablo Larrain, 2019)

#7 Post by klee13 » Sat May 02, 2020 2:01 pm

Ema didn’t quite work for me, though I found a lot to like about it, Mariana di Girólamo’s performance, the dialogue is quite sharp in places, the film looks gorgeous. It feels sui generis in a way it doesn’t entirely earn not unlike some of Audiard’s picures. There is too much obvious symmetry (e.g. the foster child burning things/the second most reality-defying use of a flamethrower in a 2019 movie) that pushes the film into abstract territory, plus a series of narrative contrivances that require us to buy an almost omniscient level of control over her situation on the part of the heroine. Were the central performance more unrestrained, the conclusion would be even less believable. Di Girólamo portrays Ema with a steely control over her lack of inhibition, a woman who feels real emotion but knows how to use sex to get exactly what she wants. The characterization works well with the protagonist’s vocation as a dancer, as someone with an extraordinary agency over their physical faculties.
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If we are convinced that Ema was able to hunt down Polo’s new foster parents and secure a job as a dance teacher, how about the fact that the new mother just happens to be a divorce lawyer who is in the closet/bisexual? How about the fact that her husband just happens to be a firefighter given Ema’s incendiary tenancies? (I can’t remember whether he is the respondent from the first flamethrower sequence, but that would underline my point.) And are we really intended to believe that random acts of pyromania would have no consequences, nor would the abduction of a child by his teacher on her first day at work? While none of this is impossible, I suppose, it makes the film feel too neat and tied up in its thematic symmetry. Bringing together child and two parental units together should be an extremely tricky situation emotionally, but the film cheats it in one deft movement. The conclusion also shrugs off García Bernal’s emotional abuse as if it were simply a problem that would go away as soon as adoptive father/son are reunited.
The film’s use of reggaeton as a mirror to Ema’s personality feels academic, though the soundtrack is universally excellent (if a bit reggaeton-for-people who don’t like reggaeton). I found it interesting how the female members of the troupe follow Ema around as a unit (reflecting the other unit in the film) returning to the same vacant practice space/bar/ball court/etc. in a stylization reminiscent of a music video. There is also one excellent dance montage two-thirds of the way through that I will not soon forget.

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Re: Ema (Pablo Larrain, 2019)

#8 Post by therewillbeblus » Sat May 02, 2020 2:40 pm

I've been talking with several people today who are also taking the actions in the film at face value, and all I can say is that if I read the film that way I'd hate it, and don't think Larrain has any intention of us subscribing what we see to our reality outside of humanistic similarities.
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A lot of people are getting hung up on Ema as a "bad parent," "sociopath" or "pure id," and labeling Polo as a kid doomed to become a psychopath. Sure, in ‘reality’ the kid hits basically every red flag there is, but I strongly believe that reading is missing the point of the film, which has its own internal logic outside of our reality while mirroring its emotional truth. The film isn’t attempting to diagnose any character but it’s celebrating the deep needs we have for emotional connection.

In the world of the film Polo's behaviors were testing to see if his parents would reject him (which is actually accurate, this kid fits the profile of the exact population I've worked with for 11 years, but here that's the sole function of the behaviors) and they did reject him. Ema made a misstep against her own value of exerting absolute intimacy and must make up for it to both reclaim her identity and unload all the emotion she has to give onto the person she loves the most. So this entire plot was Ema's way of giving that unconditional love by simply showing up for Polo. She infiltrated his class only to bring him back home, but in the process demonstrated that she cares.

I’m still amazed at how this film upended expectations in the last act. I was sure that her ‘plot’ involved pitting the couple against each other and swooping in to take custody of the kid once their marriage fell apart. But silly me for believing Larrain would abandon his tonally distinct alien milieu in favor of a traditional arc. Instead the film completely destroys contrivances when we see that Ema's actions in becoming romantic with both members of the couple was manipulative and authentic because her pansexual nature can be applied to life itself - she deeply believes in engagement and her sexual trysts weren’t simply goal-oriented self-prostitution but in step with her identity. Her empathic interactions with the wife following her own reveal cements that she actually does care about her. The way I read the film is that Ema only had the intention of infiltrating this family through actual honest forging of relationships, even if these actions may be seen as simplistically aggressive and manipulative from the perspectives we've created in our world. Ema's 'influence' cannot be pigeonholed into a straightforward reading of mean-spirited, selfish, controlling, or emancipated. She breathes out influence as air, defies pathology or categorization, and exists in a space where that influence is not moral but the ambiguous substance of life itself.

The plan doesn't even make a whole lot of sense if taken literally. For example, Ema burning the car so that she can smell like smoke and flirt with the fireman isn't the only way to get close to him, but again that feels like focusing on the wrong details - rigid logic outside of the emotional surge Larrain is flashing in our eyes. The film isn't interested in superficial consequences, only emotional ones. Every action is a supreme statement, treating life like a series of orgasms as one character says, because it can be treated that way with both passion and thought. Ema operates on id and her own rational value system simultaneously, because for her they blend together. Larrain frees its characters from those chains of choosing one or the other.
This is a film about regret wherein you can will yourself to rehabilitate through forceful participation, and as that I think it's the zenith of empowerment, but it requires people to get on a wavelength where emotion becomes philosophy, like it does for Ema, and that's quite a leap to take.

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Re: Ema (Pablo Larrain, 2019)

#9 Post by senseabove » Sat May 02, 2020 4:50 pm

This teetered so close to disaster and stuck a beautiful landing, with such an odd balance of acceptance and agency. I was completely befuddled about the what and why for most of it, but the arch style kept me engaged even as I found the flatly presented morality increasingly off-putting, until the twist. I think twbb's comparison to The Florida Project is spot-on in that regard: Ema's morality is not the movie's subject, but impetus, action and reaction; and its willingness (or unwillingness) to reveal that until it's absolutely necessary is risky, but it worked, in the end.

On that fantasy marquee in my head, I've been dreaming about a series of post-Classic musicals, movies that take the spirit of the Hollywood concept and know what to do with it, know that what the originals did at their best was to transmogrify interiority into an exaggerated, overloaded, overextended exteriority. Draw a (curvy, flourishing) line from 500,000 kilowatts of stardust in the movie-set seduction in Singin' in the Rain to the simple choreography of the design studio duet in Haut Bas Fragile. After the argument about reggaeton, when there's the extended sequence of Ema and Co. dancing through various streets, it dawned on me that this is really an entry in that category. But rather than the emotional needs that most musicals dwell on and express through song with the bonus emphasis of expressive dance, in Ema, dance is the physical expression of sub-psychological desire and sub-psychological need, a reminder that there is no mind without body, that emotions are, in a basic, overly-simplified sense, chemical reactions. Compare Ema's friend's speech about how Gaston is only here because someone had an orgasm, and the opposing ideas of dance summarized in that scene, with Ema caught in the middle of them, the only person who seems capable of seeing both; Ema is a black hole of physical need, and for all Ema's friends' haranguing of Gaston for his cold and calculated exploitation of their "organically" developed dance style, there is no better expression of it than the thoroughly "intellectual" first dance, her standing at the core of a pawing, groping throb of dancers. It's a long narrative circuit back to understanding what that dance explores, during which Ema builds a world, by force and manipulation, where those needs are met.

goblinfootballs wrote:
Fri May 01, 2020 11:57 pm
Did anyone else see the image get slightly brighter every time there were subtitles? My only complaint was how distracting that was at first.
This happens across most streaming services for me—Netflix, Criterion, MUBI... I mostly notice it when watching on my iPad, not so much when projecting, but yes, it's slightly maddening.

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Re: Ema (Pablo Larrain, 2019)

#10 Post by therewillbeblus » Sat May 02, 2020 6:13 pm

Wonderful appreciation, senseabove, it's great that you got so much out of the film even if it took time to subscribe to what it's offering. I particularly love the process of analyzing the text of unbound emotional expression as a unique kind of musical, which is dead-on.

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Re: Ema (Pablo Larrain, 2019)

#11 Post by Michael Kerpan » Sat May 02, 2020 7:38 pm

Is this streaming anywhere other than Mubi?

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Re: Ema (Pablo Larrain, 2019)

#12 Post by knives » Sat May 02, 2020 9:59 pm

After a few days of letting this, especially the strange conclusion, sit in my stomach a bit I feel like I can begin to talk about it a little. I largely agree with TWBB. Throughout the experience of watching I couldn't figure out what to feel about Ema who is a gross character in many ways, yet she is rendered so charming the film becomes a magic trick. This makes me assume that Larrain is playing the audience (and the other characters) with one of my least favorite art house plots.
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In a lot of ways the film is essentially a version of Teorema or Badou with the perspective changed. We have this fascinating enigma invading the lives of others and changing the people through her enigma. Where this becomes radical is that we are sat down not with the people Ema is effecting, but rather the woman herself. It seems like we get to know her and can make assumptions, but the ending so radically changes our relationship with her that it makes us like the others and we will never know who the real Ema is. It's a hard fact to accept.
This reminds me of is Taste of Cherry which is explicitly about the fact we can not know the full context of a person. That word context haunted me throughout my viewing. In my own personal development of improving my empathy is trying to realize that the motivations for actions can't be assumed because the full history of a person is unknown like Mr. Badi through the window or the relationships in Kiarostami's post Shirin movies. Even the unseen friend, God, of Where is the Friend's Home. We have no context for Ema and so what can be said about her?

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Re: Ema (Pablo Larrain, 2019)

#13 Post by therewillbeblus » Sat May 02, 2020 10:43 pm

Interesting, that's not at all how I read Ema, certainly not a "gross character" but I also found her remarkably accessible, just through a completely different framework than we usually operate, as a woman whose identity is her emotion as expressed by the seizure of life through flexing the capacity of her agency. I found her strengths to be worn on her sleeves thanks to Larrain's camera and Mariana di Girolamo, and the elasticity of her resilience defined her in the small details within the loud movements she made. Maybe I've known too many people like Ema in my professional and personal life (naturally exaggerated to the unique extreme here), but Larrain allows us to know her through what I can only describe (poorly) as her pansexual approach to life.

I think it can be challenging to align with a character who lives by a flexibility that breaks down the walls we construct to compartmentalize moral philosophy and desire, bleeding them into an identity and thrusting it upon us, but I felt unconditionally united with her humanity from the first frame. I'm realizing this was a different experience than most people had with this film (I recommended it to a bunch of friends last night and have been having similar conversations throughout the day) but I suppose I felt I knew her as much as anyone can "know" another person, certainly a character in a film.

Otherwise I largely agree with your take on Ema as an enigma we're attending to rather than the affected, only I think the trick goes even deeper where we become so oriented to Ema's perspective that we can see how the rigidities outside of Ema (i.e. us, everyone to some extent) are the strange ones from the philosophy of pure emotion and empowerment we could never access so fearlessly and fluidly so as to deconstruct ethical codes of social interaction alone.
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The ending actually felt completely in line with the character I felt I got to know, so I was more amazed that it was pulled off so well than surprised. As the narrative was approaching the end, I became incredibly worried that the film would totally destroy itself by undoing her character and playing into that expected place. This awful "art house plot" would have been so much worse in deflating the entire point of the movie and so I was relieved beyond words at what we got, which only reaffirmed my relationship with her character rather than change it in any way.

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Re: Ema (Pablo Larrain, 2019)

#14 Post by knives » Sat May 02, 2020 11:18 pm

By gross I meant that what we see her do is largely unpleasant even if during those moments she is the most compelling person on earth. See the use of the torch for an obvious example. Though of course that is completely undermined in the end which is what I ultimately meant. It's impossible to judge her due to our collective ignorance. Even the pansexual approach you mention is something I'm not sure how it exists. I'm a total ignoramus on the topic of Ema the person which I think is the main theme of the film. There's no real question to me about aligning since we are only given a piece of the motivation.

I do very much agree with the idea of being united to her humanity though which is the other half of the coin for me. It's another film that seems to say to me that people matter because they are people and any other rationalization necessarily excludes. So I think you are most right when you say that we know Ema as much as a person can be known, but I think the film highlights how little that is in a way that shows that judgement is a wrong headed pursuit.

I agree the ending is totally in character, but at the same time I feel as if it works to undermine assumptions of motivation. It is her reasoning not her personality which is the unknown which I think is a very important difference to make considering that people can have flawed personalities and conscientious motivations. This pops up in my work with racists for example where someone points to aggravating personalities and drug dealing in the black community as a reason to uphold racist views. While I can't do anything about someone finding a personality aggravating I can show the reasoning that leads to pushing which is entirely sympathetic in a way divorced from personality.
Last edited by knives on Sun May 03, 2020 12:03 am, edited 1 time in total.

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Re: Ema (Pablo Larrain, 2019)

#15 Post by therewillbeblus » Sat May 02, 2020 11:39 pm

Thanks for clarifying, I think we're mostly in agreement then
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however I think it's reversed where the ending is totally in step with her motivations, though we definitely have to come to terms with the assumptions of motives contingent on others' expenses, which means we have to swallow the complexities of a character that is able to define her actions without the pattern of socially constructed ethics to profess her morality for her. Many times in the film Ema declares that she "is" evil, and several other labels I can't recall, using person-first language to playfully engage with our Western problematically simplistic default to pathologize in order to make sense of things, which ultimately is the biggest emphasizer on how she transcends such constructed connotations by wearing them all as badges as an ingredient in the all-consuming person that is she: life incarnate.

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Re: Ema (Pablo Larraín, 2019)

#16 Post by therewillbeblus » Sat Sep 05, 2020 8:12 pm

Ema apparently received a U.K. blu-ray release by Mubi back in June, for those who are still waiting to see the year's best film

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Re: Ema (Pablo Larraín, 2019)

#17 Post by nitin » Sat May 29, 2021 12:59 am

Thankfully got to see this in a cinema, which was a little bit of a mesmeric experience. The score is an all timer and you cannot take your eyes off Mariana Di Girolamo. I found Garcia Bernal's performance a little too deliberately stilted and the ending did not quite stick for me but what a ride!

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Re: Ema (Pablo Larraín, 2019)

#18 Post by therewillbeblus » Sat May 29, 2021 1:46 am

Mariana Di Girólamo is so good that in under two hours she successfully convinces an audience to melt away binary conservatism around motive into a fluid blend, that holds selfishness and love together in a harmonious twist. I didn't know you could do what she does in this movie, but I came away seeing the world even greyer, and appreciating more shades of humanity, than when I walked into it. If her career doesn't lift off soon, I'm gonna lose some of that faith in the humans in charge of movies tho

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Re: Ema (Pablo Larraín, 2019)

#19 Post by therewillbeblus » Fri Jul 16, 2021 11:15 am

Music Box Films will finally be giving Ema a U.S. theatrical release on August 13, followed by a digital release on September 14

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Re: Ema (Pablo Larraín, 2019)

#20 Post by therewillbeblus » Fri Aug 27, 2021 12:30 pm

Does anyone know of any niche poster sites that may have an Ema poster (hopefully one with this image)? All my cursory searches are coming up empty, but I'm admittedly like 20 years removed from the world of poster-collecting

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Re: Ema (Pablo Larraín, 2019)

#21 Post by Glowingwabbit » Fri Oct 08, 2021 8:13 am

therewillbeblus wrote:
Fri Jul 16, 2021 11:15 am
Music Box Films will finally be giving Ema a U.S. theatrical release on August 13, followed by a digital release on September 14
Coming to blu-ray

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Re: Ema (Pablo Larraín, 2019)

#22 Post by therewillbeblus » Fri Oct 08, 2021 9:19 am

Seems like a missed opportunity for a scholarly commentary- I doubt the choreographer will dig into the intricacies of this provocative narrative trick, or the thematic smashing of rigid conservative schemas on intent and behavior- but great news nonetheless, an easy double dip

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Re: Ema (Pablo Larraín, 2019)

#23 Post by therewillbeblus » Tue Mar 22, 2022 9:27 pm

I rented the Music Box U.S. release from my local library to go through the extras to see if I could rationalize the double-dip against the Mubi, and it's sadly pretty sparse and disengaging material for the most part. The choreographer's commentary is actually a select-scene commentary on the dance scenes, running about 30 minutes. He doesn't provide a whole lot of insights- some of the influences for the numbers are cool to hear, but they're usually quickly mentioned and the bulk of the time is spent making incredibly thin observations (for example, here's an average one: "I think the music here is such an amazing way to create a flow, the music gives a sense of a flow, to me everything seems right, every section becomes part of a total"). He talks a lot about how "the space is free" and "life is happening" and references Ema's "seduction thing" and uncomfortably points out "sexual content" as it's happening, and just explains what's happening on screen a bunch; a total slog and an embarrassing waste of a commentary. There's a music video for 'Real' which is expectedly good, but also mostly just a bunch of material from the dances cut into a music video, about a minute of TV spots, and trailers.

However, the booklet is absolutely terrific, with a brief essay by Carlos Aguilar the highlight- he absolutely nails the nonbinary spirit of the film and Ema as a character, and I'm not sure I've ever agreed so wholeheartedly with a booklet essayist before on their interpretation. Larrian's interview is also brief but interesting- particularly info on how long it took to edit the film, and how he filmed it without a working script, writing as they went from an outline in a spontaneous and instinctive fashion, which really fits the ethos of Ema herself! I honestly might pick this up solely for the nine pages of writing in this booklet, as I'd like to return to it frequently for the rest of my life.

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Re: Ema (Pablo Larraín, 2019)

#24 Post by Michael Kerpan » Tue Mar 22, 2022 10:20 pm

Any difference in the visual quality of these releases, TWBB?

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Re: Ema (Pablo Larraín, 2019)

#25 Post by therewillbeblus » Tue Mar 22, 2022 10:26 pm

Michael Kerpan wrote:
Tue Mar 22, 2022 10:20 pm
Any difference in the visual quality of these releases, TWBB?
I didn’t even bother to test it since my lib only had the DVD on the shelf, but from what I’ve gathered online the presentation is excellent/perfect on both blu-ray releases

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