That latter work premiered at the Cannes Film Festival earlier this year and was notable for the subtle nuances and enigmatically oblique approach with which it considered one of Chile’s cultural giants, the politically uncompromising poet Pablo Neruda. The film added another distinctive entry to Larrain’s already impressive body of work exploring the jagged pieces of a complex national identity. Molding the layered examination of Noah Oppenheim’s screenplay like a master sculptor, Larrain makes Jackie no less perceptive in its contemplation of America’s loss of innocence than in its under-the-skin study of the bleeding wounds of grief. A fragmented mosaic that comes together into a portrait of sometimes almost unbearable emotional intensity, it’s also a sharply observed account of how the wheels of the political machine keep turning, even in times of devastating trauma. That aspect should greatly enhance the movie’s resonance in a U.S. election year. Pouncing to acquire rights and then rushing the film into release would be a very smart move for any quality distribution label. Larrain wastes not a moment before showing us the tangled wreckage of Jackie’s psyche, clearly visible through the tear-stained windows of Portman’s eyes in extreme close-up as she strolls the grounds of the family compound in Hyannis Port, Massachusetts, a week after John F. Kennedy was murdered. When an unnamed journalist (Billy Crudup) arrives at the house to interview her, there are no staff to usher him in, no filters of any kind.
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