Emma, the film version of Austen’s pop and it’s…

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Did we need another Emma? What a with rulitos, choreography, and pastel colors? One of the novels of Jane Austen is more adapted to the screens again with a version of hyper-stylized and somewhat pop: away from the elegance of the ballerina of Gwyneth Paltrow and her swan-like neck in the Emma 1996, or of the approaches something more realistic to the period Regency of the BBC series who played Romola Garai (2009) or the tv movie with Kate Beckinsale (1996), this version of the novel published in 1815, is in charge of Autumn de Wilde, a director who makes his feature film debut after a whole life dedicated to the photography and directing music videos.

De Wilde is a character worth googling: tends to wear dresses with cut of a man, wide-brimmed hats and their referents, style are Oscar Wilde and Paddington bear. Mother british, very anglófila, the fascination of this principal, for the period it represents —or a pop version of that period—, hyperbolic, overloaded and festive, it has an air to it that made Sofia Coppola in Marie-Antoinette: outside historical rigour, welcome to anachronisms, as if it were a girl fascinated with Austen that makes the whole film is the fourth in a teen of this century, embedded in a place that did not exist two hundred years ago, but in his adolescence reading.This Emma takes place in a corner of the English countryside quite a little rustic, meadows carpeted with a green grass and bright skies celestial houses from the outside are solid stone mansions but on the inside they have rooms pink, green, water, sky: maybe the doll house that we could never have, that of several floors and details in the rococo, is the most simple to describe the feeling transmitted by the interior and decor of this Emmathat looks like a version of Austen filtered through that another version of Emma that was lagloriosa No idea (1995).

Like Cher in this adaptation the contemporary of Amy Heckerling, the Emma Autumn de Wilde is more frivolous than a heroine of Austen could be, and also is probably the Emma more bad that he has seen. Anya Taylor-Joy is a rare find in this paper: very young, almost a teenager, with that face of gazelle or antelope of quick movements and attention to what is outside of its range of action, with your capacity to pretend and to be charming even when it is malicious, we are facing a Emma, that is transformed throughout the movie, mainly because part of a state straight-faced, without a hint of vulnerability, to go to a version more human herself.The casting is wonderful; Anya Taylor-Joy is very young but he had already earned the place of promise in the film as the protagonist of The witch (2015), and it surrounds a group that makes the movie is full of details delicious: the father is the indestructible Bill Nighy, always with that mixture between annoyed and happy life, Knightley is the musician Johnny Flynn, Mia Goth is a Harriet that has a life of its own and the story is the usual, but at the same time not. Emma Woodhouse, rich, and carefree, he grew up as a pampered girl, lives alone with her elderly father and is dedicated to arming partners to kill the boredom of a life too quiet, until one of his plans to drive lxs around like puppets goes wrong, and she herself is exposed. This version emphasizes the side a caprice of Emma until it is almost unpleasant, a girl who live in our time would show a perfect life on Instagram, and allows you to, however, grow. More sexy, with a friendship female precious than in other versions more faithful to the novel was limited by the social differences, colorful and dazzling, this Emma updated and full of vitality is the version of Austen that we didn’t know we needed.