Fifth about The Seventh

Neruda (2016)

NerudaNeruda: there are many ways to tell a story: one can be literal, sticking mostly to the facts, or one can try something different to enrich the experience; the success, in both cases, depends on the execution. Pablo Larraín chose the second road (the bolder, riskier choice), but his film ends up being too precious: first, there’s very little notion of the title character (one must bring his feelings along); second, the aesthetic choices (the at times dissonant musical score; the excessive use of lens flares by cinematographer Sergio Armstrong; the very particular way some conversations are staged, shot, and edited by editor Hervé Schneid) give it all a dreamy feel (or, more to the point, less narrative and more poetic) which detract from the experience emotionally. The performance of Luis Gnecco and Gael García Bernal are fine within that framework.


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