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An inspector hunts down Nobel Prize-winning Chilean poet, Pablo Neruda, who becomes a fugitive in his home country in the late 1940s for joining the Communist Party.

Director:

Pablo Larraín
Nominated for 1 Golden Globe. Another 11 wins & 30 nominations. See more awards »

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Cast

Cast overview, first billed only:
Luis Gnecco ... Pablo Neruda
Gael García Bernal ... Óscar Peluchonneau
Mercedes Morán ... Delia del Carril
Emilio Gutiérrez Caba ... Picasso
Diego Muñoz Diego Muñoz ... Martínez
Alejandro Goic ... Jorge Bellet
Pablo Derqui ... Víctor Pey
Marcelo Alonso ... Pepe Rodríguez
Michael Silva Michael Silva ... Álvaro Jara
Francisco Reyes ... Bianchi
Jaime Vadell Jaime Vadell ... Arturo Alessandri
Néstor Cantillana ... Ministro del Interior
Alfredo Castro ... Gabriel González Videla
Marcial Tagle Marcial Tagle
Amparo Noguera ... Mujer Borracha
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Storyline

An inspector hunts down Nobel Prize-winning Chilean poet, Pablo Neruda, who becomes a fugitive in his home country in the late 1940s for joining the Communist Party.

Plot Summary | Add Synopsis

Taglines:

Olvida lo que sabes. [Forget what you know.] See more »


Motion Picture Rating (MPAA)

Rated R for sexuality/nudity and some language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Chile | Argentina | France | Spain | USA

Language:

Spanish | French | Dutch | Mapudungun

Release Date:

11 August 2016 (Chile) See more »

Also Known As:

Неруда See more »

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Box Office

Opening Weekend USA:

$29,402, 18 December 2016, Limited Release

Gross USA:

$938,875, 5 May 2017

Cumulative Worldwide Gross:

$835,993, 19 March 2017
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Official submission of Chile for the 'Best Foreign Language Film' category of the 89th Academy Awards in 2017. See more »

Soundtracks

La fiesta de los bronces
Composed by Carlos Cabezas (as Carlos Cabezas Rocuant)
Performed by Danilo Donoso(Percussion), Daniel Espinoza (Trumpet), Bernardo Lama (Trombone), Fernando Julio(Contrabass)
Engraving, mixing and mastering in Estudios Cablesanto 2015 y 2016
See more »

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User Reviews

 
Subtly Sophisticated
24 October 2016 | by necid-70967See all my reviews

This is a fictional plot around the very real character of Pablo Neruda, the Chilean poet who, during the 1940's, had also been a senator in the Chilean congress on behalf of the communist party. The film is set in 1948, when the authorities crack down on communists - a time that may be viewed as a chilling precursor to 1970's Pinochet - and the basic plot is about Neruda's escapes from the police, endeavors that force him all over Chile. Luis Gnecco as Neruda is fantastic and so is Mercedes Morán as Delia, Neruda's aristocratic wife. At one level, the film offer a troubling inquiry into the personality of this esteemed poet-intellectual-communist. He is an admired spokesperson for the workers and the downtrodden but he is also a hedonistic drunk and a spoiled womanizer; rough and gentle, strong and weak, Neruda's character and image keeps shifting, and it is to the credit of this film that it never for a moment tries to offer a solution to these complexities. In one memorable episode, a waitress asks Neruda, as he sits at a club-restaurant surrounded by his intellectual-hedonistic friends, suffused with alcohol, whether equality means that everyone will live like he does or whether it means that he, Neruda, will settle for less. I shall not disclose his response.

The camera-work covers a wide range of scenes, from film-noire urban settings to stunning snow covered terrains, all very precisely accompanied by period costumes, designs, motorcycles and horses. However the film aspires, and succeeds, to be by far more than a good period piece. Rather, it is a film about obsession. The psychological roots of this obsession are only hinted to, and this is a good thing too. And the obsessed is Gael García Bernal, playing the detective who relentlessly pursues Neruda. His performance is nothing short of stunning. As the film progresses, and it never rests for a moment, we gradually lose, alongside the characters in the film, any firm grip on reality. Just like in captivating poetic gestures, it becomes less and less clear what is real and what is fiction, what is an event and what is a fantasmatic representation of it, who is a character that actually acts and who is an imaginary ghost. And this is the film's most important achievement.


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