Ema

...if there is a submerged morality at play, the 102-minute film is much more palpably a sweaty, sexy, neon-bathed scorcher...

Aggressively fierce, Di Girolamo is a showstopper, one step away from burning up the banal, gray world that surrounds her.

Di Girólamo delivers a performance that is, like the combustible fuel inside the tank strapped to her back here and there throughout the film, intense, hot, destructive - and hard to look away from.

A darkly sensual fable of motherhood and the modern family..."Ema" isn't so much a character study as it is an exercise in keeping up with an abstruse yet undeniably fascinating figure.

In an age of sanitized mainstream cinema, it's thrilling to watch a film that revels in carnal pleasures.

At its best, Larraín's film captures the expressiveness of Ema's dancing in its narrative, presenting us with a fascinating character study.

This is a cliché. at this point, but Ema does really feel more like an experience, or a piece of performance art, as opposed to a standard narrative film.

A portrait of a woman that's out of touch with reality, who isn't asking for freedoms but taking them, yet she's taking them from within a bubble that's unrealistic, crazy, misplaced, psychopathic, and so selfish... [Full review in Spanish]

Ema is a challenge to the walls we build around ourselves, to the baggage we leave behind for our children and the folly of the damage we can do to each other.

Almost certainly a bad movie but in ways idiosyncratic and lively enough that it’s a fiasco rather than a straight failure.