Criticism: Criticism of “Emma.”, Autumn de Wilde, with Anya Taylor-Joy, Johnny Flynn, Mia Goth and Bill Nighy

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Another victim of the closure of theaters by the COVID-19 this is very effective transposition of the classic Jane Austen already circulating on the Internet.

Emma. (Uk/2020). Address: Autumn de Wilde. Script: Eleanor Catton, on the homonymous novel by Jane Austen. Cast: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Miranda Hart, Mia Goth, Josh O’connor, Callum Turner, Rupert Graves, Gemma Whelan and Amber Anderson. Music: Isobel Waller-Bridge and David Schweitzer. Photography: Christopher Blauvelt. Duration: 124 minutes.

One of the voices most imperishable of the narrative world, Jane Austen has written a number of classics that, in turn, have fed the plants creative Hollywood for decades. Such is the case of Emma., first published in 1815, and has been adapted for film and television several times, the first one in 1972. Now comes a new release by the writer Eleanor Catton that could be seen in the cinemas of the united States at the end of February and should be released on the 30th of April in Argentina. Without rooms by the pandemic of Coronavirus, the film can be traced on the Internet.

The director-debutant (although with a long experience in music videos) Autumn de Wilde crosses a tone, light, narrative fluidity, and an aesthetic of pastels worthy of Wes Anderson, but without the preciousness or the gloating of the director of The eccentric Tenenbaum, The Grand Budapest Hotel and Isle of dogsin this story , which combines variables of the coming of age and romantic comedy of tangles.

There is something also of the pop version of Marie-Antoinette of Sofia Coppola in this story of a young woman whose desire for “matchear” friendships with each other ends up playing a poor pass when the one who wants to marry your governess and confidante, as well as a spirit between celebratory and sarcastic that reminds The favorite. What’s missing is irreverence toward a character that acts motivated by genuine and spontaneous.

In that sense, the film looms as a ballet, perfectly choreographed, as the latest version of Mujercitas, Greta Gerwig, hybrid classicism and modernity through a re-reading done with intelligence and sobriety.

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