
From the first time many of us saw Gael García Bernal onscreen, in “Amores Perros” or “Y Tu Mama Tambien,” we knew he had something special. A little spark they used to call “star quality.” In Almodóvar’s “Bad Education,” Iñárritu’s “Babel,” and more recently, Larraín’s “Ema,” Bernal was never anything less than riveting.