It’s not like there is phrase one, phrase two - it is a mix of all of the materials.” “I think Pablo wanted more of a nasty movement that I wasn’t apparently quite able to find,” Vidal said with a laugh, in an interview. Mónica Valenzuela was also part of the choreographic team, and her focus had more to do with the reggaeton moments. Di Girolamo worked closely with the Chilean choreographer José Vidal, whose company appears in the film. “She’s very hypnotic, and in some ways she’s very dangerous or destructive,” Di Girolamo said, “but you also want to be close to her.” (Her husband is a D.J.) In “Ema,” she had tools to help her body acclimate to her character: One was the hair, which helped her to see Ema as an energy - like the sun, like fire. “It gave me the necessary tools to be empowered and to continue ahead.”īut she does love to dance. “It was literally a therapy for me,” Di Girolamo said in a recent Zoom interview. Her mother decided she would be better off doing that than being in therapy. She’s beyond needing an audience.ĭi Girolamo is not a trained dancer, though she studied flamenco for a few months as a teenager. She is catlike with the kind of stare that makes you feel invisible at the same time, she dances as if you were invisible. Once she stops moving, her expression changes: Her thick brows frame a stony face. Moments later, she’s on a carousel ride, but there are echoes of her dance: As she grips her horse’s pole, she sways, dipping from side to side she’s almost relaxed. To him, reggaeton is music to listen to in prison, “to forget about the bars you have in front of you.”Īs she picks up the pace, walking with purpose and changing direction, her back undulates and her angled arms carve through the air to an imaginary beat. Her obsession is reggaeton and its dance, which she relishes for its aggressive sensuality outside of the dance studio with her friends, her body is electric as she lets her limbs fly and her hips shake. It’s not hard to draw conclusions about who might have encouraged him.Įma is a member of her husband’s experimental dance company, and it’s no secret that she has lost interest in it - and in him. The reason they give up the boy turns out to have something to do with fire he’s fond of it. 14, tells the story of a couple, an older choreographer and a younger dancer - Gastón (Gael García Bernal) and Ema (Mariana Di Girolamo) - who adopted but then abandoned a Colombian boy named Polo. Set in the coastal city of Valparaíso in Chile, “Ema,” now in theaters and on Amazon and other digital platforms starting Sept. That hairstyle, hard and impenetrable, is like a coat of armor, which makes sense. In “Ema,” Pablo Larraín’s film, the title character has a particular look, too: bleached hair slicked back so severely that it appears to be shellacked to her head. Ema is the oddest of things: a dancer with a passion for setting things on fire.
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