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All Critics (33)
| Top Critics (10)
| Fresh (28)
| Rotten (5)
| DVD (1)
Unfortunately, the pacing also moves at a zombie shuffle, with shots held past the point of ennui to agony.
Mesmerizing, somehow otherworldly...
Mario's life spirals out of control in unexpected ways.
Post Mortem is - intentionally - not an engaging movie.
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.
Despite how uncomfortable this film can potentially make its audience, it achieves that which all arthouse films of a strong calibre aim for - it makes you think.
Post Mortem is only Larraín's second feature, but he has already proven a distinct style-an unmistakable deadpan-and an interest in political and personal utopias.
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.
Pablo Larraín keeps the army's brutality off screen to amplify a sense of oppressive malevolence.
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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