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A provocative, morbidly comic drama that begins during the onset of the bloody 1973 Chilean coup that overthrew President Salvador Allende. Alfredo Castro (who played the title character in TONY MANERO, Larraín’s previous critically acclaimed film) is a coroner’s assistant who, while obsessively wooing an erotic dancer, is caught in the midst of a cataclysmic event — and finds himself with a rapidly expanding game plan. Once again, the filmmaker invests his characters with metaphoric undertones, suffusing Santiago with a surreal visual texture that evokes the nightmarish landscape it was rapidly becoming. 




“Takes TONY MANERO’s sardonically macabre humor even further. The film’s stylization... works to extraordinary effect, the action seeming to take place in an uncannily still dream world. ”
— Jonathan Romney, Sight & Sound

“…begins as a deadpan comedy and ends as a harrowing tragedy.”
– Manohla Dargis, The New York Times

“Haunted-eyed Alfredo Castro (the murderous John Travolta obsessive of Pablo Larraín's unhinged 2008 drama, TONY MANERO) reteams with his director for another politically charged, darkly comical provocation.”
– Aaron Hillis, Village Voice

“Lorrain’s breathtaking visual command makes for enthralling viewing. A rigorous, formally controlled yet emotionally gripping drama. Stunning framing.  Breathtaking in its originality. Unsparing and chilling. The film belongs to Castro and his emotionless, specter-like presence. But in many ways the real star is the framing. Larrain uses space in an extraordinary way, forcing the viewer to think about what’s beyond the screen almost constantly… Astonishingly inventive sound design.”
– Jay Weissberg, Variety

“In POST MORTEM, Larrain returns to subjects he has previously explored: the psychosis of fascism, the violence of the impassive and disappointed, the horrors of history played out as performance. His visual and sound design (emphasizes) what he calls the ‘enigma’ of the 1973 coup, the persistent mysteries surrounding a cataclysm that happened before he was born but whose aftermath he lived through.”
– James Quandt, Artforum

“A devastating recounting of the September 11th coup, set to the rhythms of another apathetic antihero named Mario. POST MORTEM maintains the grainy, 16mm texture of TONY MANERO and extends that film’s exploration of the equation between masculine ego and political murder. Lorrain draws his equations with sly staging and pitch black humor. It is clear that Larrain takes a perverse pleasure in showing Chilean society the price of its own self-absorbed compliance with its political past. I was absolutely devastated by POST MORTEM, by its visceral immediacy and its brilliant rendering of one of the most traumatic times any nation has ever faced. (The film) seems to be something straight out of a Kafkan nightmare.”
– Tom Hall, Indiewire