A filmmaker whose strong visual style is as bold as is his engagement with society past and present, Pablo Larraín has rapidly risen to the top rank of world cinema. As well as directing films, Larraín has producing credits on 'Nasty Baby' and 'Gloria'. After attracting acclaim for his 2005 debut ‘Fuga’ - only on Curzon Home Cinema, ‘Tony Manero’ skilfully explored contemporary Chile life through the eyes of a man obsessed with John Travolta’s anti-hero from ‘Saturday Night Fever’, even down to his wearing that flared white suit. Larraín bagged an Oscar nomination for ‘No’ - an account of the movement that led to Pinochet being democratically deposed which balances drama with a satirical edge, shifting seamlessly between docudrama and outright farce. ‘The Club’ is arguably Larraín’s most fully realised film to date – a searing indictment of corruption in the Catholic church and an extraordinarily beautiful drama. Larraín’s most recent films explore a more personal side to history. Shot back-to-back, ‘Jackie’ gives us a portrait of Jacqueline Kennedy’s coming to terms with her husband’s death and the wholesale upheaval of her world in the days following JFK’s assassination, while ‘Neruda’ is a playful exploration of the Nobel Prize-winning Chilean poet’s escape from his country in the 1940s. Both films excel at imagining the interior lives of their characters – flawed human beings made immortal by the trappings of fame.

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