Cannes Review: Gael Garcia Bernal is a Lost Soul in Pablo Larrain’s Absorbing . Now comes his most ambitious storytelling effort to date, . While at times uneven, it’s a constantly surprising consolidation of the projects leading up to it. The titular focus is Chilean poet and senator Pablo Neruda (Luis Gnecco), a boisterous figure valorized by his followers even as he’s impeached by President Gonzalez Videla (Larrain regular Alfredo Castro) for public accusations against the government about abandoning its communist roots to please the United States. Set in the immediate aftermath of World War II, . But that’s all part of the plan for Larrain, who gradually transforms the story into a self- aware gamble. The portly, charismatic Neruda finds respite from his conundrum by leaving clues for the investigator as he wanders the countryside. With time, it becomes clear just how much the exuberant tone is a conscious device. Narrated by Peluchonneau as he envisions his pursuit of Neruda in grandiose terms, the film becomes less about the political turmoil of the time and more invested in elaborating on the swooning romanticism of the poet’s conundrum. Bernal’s character eventually takes center stage as he hopelessly follows the bread crumbs, inadvertently becoming a central figure in the drama that Neruda scripts in real time — and liking it. From the use of rear projection when the characters drive around to the fantastical moments that define the story’s climactic showdown, . Gnecco’s energetic presence provides a fascinating contrast to Bernal’s intensity as the man continues to obsess over his target, ultimately leading him on a fool’s errand to the outer reaches of the country. Bernal has rarely been better in a role that makes him alternately pathetic and passionate; Mercedes Moran rounds out the core cast as Neruda’s passionate wife, whose devotion to aiding the poet in his flight as well as his legend bolsters the emotional foundation. The movie sometimes veers off on tonally confusing tangents, but its central focus develops an absorbing form of existential intrigue: Is this historical fiction or a meditation on the process of writing history? In its shrewdest moments, . Its finale erupts with an operatic montage that unites real events with the obsessive desire of these characters to put themselves at the center of a public memory — and its very existence proves that they pulled it off. The memorable closing shots have a dreamlike quality that reinvigorates everything leading up to them. For Larrain, . In essence, the film asserts that even as history passes into legend, it speaks to deeper truths.
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