Ema (2019) review

Ema (Mariana Di Girólamo), a dancer married to much older director Gastón (Gael García Bernal), sees her marriage start to disintegrate when they return their destructive adopted son Polo (Cristián Suárez) - who kills animals and sets Ema's sister on fire - to the adoption agency and fight over Gastón's inability to produce her a biological child (she accuses him of being a homosexual).  In typical Larraín fashion there's a lot of choppiness - scenes bounce around almost randomly - with little flow, and the narrative is more interested in exploring Ema's pansexuality: she torches a car, has an affair with a bartender, then the bartender's wife, then a whole slew of other women (which is more tedious than erotic), before the movie realizes it has to get back to what it started off fretting over, which is getting Polo back.  Viewer appreciation depends on one's tolerance for Ema's behavior: in a post-screening video interview, Di Girólamo admits her character is "enigmatic" (which is giving her a lot of credit) but that she "knows what she wants and will not stop until she gets it" (I'm not sure about the first part).