Post Mortem (2012)
Pablo Larrain's follow-up to Tony Manero is another unnerving look at one man's psychosis set against a country's political and moral turmoil -- here, a lonely morgue clerk whose infatuation with the burlesque dancer next door plays out against the violent chaos of Chile's 1973 military coup. -- (C) Kino Lorber
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Critic Reviews for Post Mortem
Unfortunately, the pacing also moves at a zombie shuffle, with shots held past the point of ennui to agony.
Larrain crafts Post Mortem as a slow, quiet character study, narrowing in on Castro in his home and office while the world outside descends into madness.
The first half's pretentiously doom-laden vibe suggests the film is slowly tunneling up its own rigor-mortised rectum. Patience, however, will be rewarded.
Unfortunately, as beautifully presented as it is, and no matter how creepily authentic the autopsied and rotting cadavers look, Post Mortem is D.O.A. in the suspense department.
Post Mortem starts out at a crawl, but it gathers emotional momentum as it pushes forward.
The violence in Chile in 1973 when the government of Salvador Allende was overthrown seen through the eyes of a mortuary assistant.
A chilling exploration of the 1973 Pinochet coup soaked in metaphor but rooted in dreadful fact.
Pablo Larraín keeps the army's brutality off screen to amplify a sense of oppressive malevolence.
to film ekselissetai se ena eidos tromoy, me akoma frikiastikoterh thn adynamia soy na fantasteis kamia enallaktikoterh, protimoterh katalhksh
It's by no means an easy watch, but it's a rewarding and disturbing one.
It's a bleak film that becomes positively numbing in its relentless pursuit of that perennial theme, the banality of evil.
Larraín keeps the action tightly focused on his small cast, closing in on a claustrophobic, macabre ending that works as a neat summary of all the deprivation and cruelty that has led up to it.
It's a frequent complaint that some movies are just too damn slow. And this Chilean film feels like it lasts for days.
Audience Reviews for Post Mortem
Even though I usually don't favor any movie with an ending that piles on, it turns out there is quite a bit to admire in the intriguing "Post Mortem" and what it has to say about perceptions. You wouldn't really notice Mario(Alfredo Castro), a squirrelly middle-aged man who works in the cornorer's office, if you walked past him on the street which allows him to slip through unnoticed backstage at a dance hall to see Nancy(Antonia Zegers), his neighbor, who is literally fading from view. She ordinarily would not give him the time of day but she needs a ride home when she gets fired for losing too much weight, at least until they run into a friend of hers on the way home at a street protest.
Of course, being noticed can sometimes be a hundred times worse because this is Santiago, Chile in 1973. Normally I would cheer on any display of leftist political expression on screen(Just one time, I would love to be at a meeting where everybody cheers Ho Chi Minh's name at a meeting). Here, I was just hoping everybody would lay low for their own safety, knowing that repression and murder are just right around the corner, even though it probably would not have saved their lives. These deaths are not the only ones foreshadowed, as Nancy's death is also foretold. For Mario, also, much of the political action happens just out of earshot which is indicated by the excellent sound engineering. Mario is just old fashioned, rejecting the politics and advances of his attractive colleague Sandra(Amparo Noguera) because she sleeps with other men.
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