Jackie
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Jackie

In the history of the presidents of the United States, The Belko Experiment few First Ladies came to achieve as much notoriety as Jacqueline Kennedy despite the fact that, unlike several other women in office, she was never politically active or gave up the luxury to defend causes did not practice diplomacy or advise her husband on matters of State. It could be said that her role was essentially domestic-that is, taking care of the children and decorating the White House-if it were not for, as “Jackie” makes clear, she was an essential patron and patron of her husband’s inheritance.

Also, of course, the type of character that today would The Foreigner swell to make perfume advertising campaigns. Some call it a style icon, even though just hearing this expression makes you want to regurgitate breakfast. That ‘Jackie’ takes someone like that and manages to endow her with an inescapable scope is something like a feat.

Instead of following the narrative conventions associated with biographical cinema, director Pablo Larraín contemplates his heroine during the week immediately following the death of her husband, and specifically affects the incredible pressure that must have fallen on her: The cameras stayed composed and whole but out of the spotlight, cradling her husband’s open head in her lap or drunkenly wandering around the oval office, she would come downstairs. That is to say, it explores the tension between the public and the private  It image that would not be particularly illustrative if it were not because Natalie Portman is alternately furious, neurotic, devastated and threatening and makes up the type of paper that fills entire showcases with awards – in fact, the entire film seems conceived as a showcase for its brilliance.

Duration: 100 min

Release:

IMDb: 6.7

Jackie
Jackie
Jackie
Jackie
Jackie
Jackie
Jackie