She strikes up a new relationship with John Turturro, who’s also great here, playing Arnold, a man with many problems, including a new gastric band which has made him lose loads of weight but which means Gloria has to rip off a Velcro corset around his tummy when they have sex, that noise crunching through any sexy momentum the scene might have built up, bringing the reality of ageing bodies and the embarrassment of undressing with strangers into stark light. She visits her son (Michael Cera) and baby grandchild occasionally, as well as her yoga-teacher daughter, occasionally enlisting in one of her classes.
She lives alone, suffers a noisy upstairs neighbour and puts up with a persistent visiting stray cat. Moore’s Gloria Bell, sporting the signature big ‘Gloria’ glasses, is in Los Angeles, going out dancing to disco classics and shouting along to power ballads on the car radio as she drives to her job selling insurance in a drab office block. Moore is just as good, though very different to, Paulina Garcia, who played Gloria the first time around and won Best Actress at Berlin for her performance as a still-vital woman in her early 60s, looking for love on the Santiago singles scene. It’s not a shot-for-shot remake and, in fact, feels fresher and less downbeat, although perhaps that’s simply down to the shift in locale and leading lady. The Hollywood version comes with its own oomph, and it’s interesting to see how a flicker of star wattage alters one’s perception of basically the same movie. Julianne Moore is flat-out terrific in Sebastián Lelio’s American remake of his own Chilean film, Gloria, from 2013.
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