There are several pivotal moments in Pablo Larraín’s “Jackie,” but one truly epitomizes the director’s primary obsession. Days after she sat next to her husband as a bullet struck his brain, the bereaved Jacqueline Kennedy (Natalie Portman) peers out a tinted window. Even in the midst of tumultuous grief, she recognizes the need to solidify his legacy with an elaborate funeral march. She’s completing his story while keeping her own in the shadows, but in a single powerful moment, the two collide.
With the former First Lady’s reflection on the window, Larraín superimposes archival images of the crowds that showed up to salute their dead president. The intimate experiences of a single traumatized character collide with the public’s absorption of the mythology surrounding her. As viewers, we’re left to sort out the truth.
From the melding of anti-Pinochet campaign propaganda and a scripted narrative in “No,...
With the former First Lady’s reflection on the window, Larraín superimposes archival images of the crowds that showed up to salute their dead president. The intimate experiences of a single traumatized character collide with the public’s absorption of the mythology surrounding her. As viewers, we’re left to sort out the truth.
From the melding of anti-Pinochet campaign propaganda and a scripted narrative in “No,...
- 9/12/2016
- by Eric Kohn
- Indiewire
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