• “The whole film is gorgeous to look at, at any rate, with Jacqueline Abrahams’ production design poised between realistic sets littered with amusing vintage objects and unnaturally spare hospital wards. A dreamy feeling emanates from DP Lorenzo Hagerman’s muted browns and greens and soft focus. All the clues are there that Alverson and his co-screenwriters Colm O’Leary and Dustin Guy Defa are after bigger game than spoofing 1950s America.”

    – Deborah Young : Hollywood Reporter

    “Rick Alverson’s beautiful, often inscrutable new film takes a stand for eccentricity in a complacent suburban nightmare.”
    – Guy Lodge: Variety

    “Alverson leave very little room for serenity, bare compassion and affection gestures whose intensity and nakedness remind us of the great masters of trascendental cinema: Robert Bresson or Carl Dreyer. Fleeting halo lights amidst the heart of tragedy: the most devastating movie this critic has seen in a very long time.”
    – Manu Yañez : Fotogramas

    “A proposal as magnetic as it is immersive and captivating (…) this laberynth is just perfect.”
    – Luis Martínez :  El Mundo

  • “As with so many of Denis’ films, the point is to contrive an overwhelmingly powerful mood and moment, an almost physiological sensation, this one incubated in the vast, cold reaches of space.”
    –Peter Bradshaw: The Guardian

    “The vastness of space is such a natural fit for the free-floating narratives of Claire Denis, it’s a wonder she hasn’t embraced sci-fi before now.”
    –Peter Howell: Toronto Star

    “To the french director, Claire Denis, is never enough to just thread the narrative lines that push us to contemplations (…) but also she transgredes and reformulates the principles and believes in which her dignity is posed.”
    –Jesús Chavarría: La Razón

    “Any chance at trying to define High Life is futile: there is no science fiction film this critic remembers that shows and is so midnful of bodly fluids –semen, blood, and tears– as well as a newborn’s cry, as if the universe’s enigmas–In this black hole–were, actually, the enigmas of the body.”
    –Sergi Sánchez: Fotogramas

  • Sorry, this entry is only available in European Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

    “If Faust manifests something, is Bussmann’s acute and assertive way of creating stories, which establishes a beautiful conversation between dialogue and images.”
    —El espectador imaginario

    “The shadowed border between human and non-human perception is one of Fausto’s sustained topics of interrogation.”
    —Peter Goldberg: Slant Magazine

    “Fausto puts a striking and abstract spin on a familiar fable.”
    —Kevin Ritchie: Now Toronto

    “In Bussmann’s film, and the anthropological cinema to which it loosely belongs, the limits of human perception are tied up with the gaps in rigid, supposedly “objective” colonial belief systems.”
    —Josh Cabrita: Cinema Scope 

  • Sorry, this entry is only available in European Spanish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

    “It is a movie about gay experience, it is not about migration, but about displacement, about forgetfulness, memory and reconstruction, global and deeply human topics. The characters in the movie end up meeting in the middle at some point but in reality, it is a history with no end.”

    —The director for Encuadres

    “Exile, identity and sexuality, a triage of elements that are mixed in the character of Ramin, an iranian migrant who lands in Veracruz harbor, a place of transference/transit/transport for a character that is  not only running away from his demons, but also from the problematic reality of being gay in the middle east; the search for the embrace of an identity that welcoms his true self.”

    —José Emilio Sarmiento: Panorama

    “The topic of marginalization born out of facism and violent contexts, in which, one way of another, the “fireflies” (from Pasolini’s essay) manage to comunicate insided the shadows where they were exiled to.”

    — Matt Micucci: Gay Essential 

  • “A movie about indivial leeway that is also a colective portrait where peculiar charactares gather.”
    —Quim Casa: El Periódico

    “The key to the main reading of Alché’s movie is what we need to live and what we left when we die.”
    —Esteban García de La Mata: Icónica

    “If to [Fellini] the unconscious might resemble a three track circus, or and exhuberant cabarét, María Alché wages subtle narratives to address, in her feature filmfilmdebut film, a personal crisis. The more Martelian rather Fellian , A Family Submerged is dominated by the presence of Mercedes Morán that shows herself to the audience between net curtains before presenting that her eyes enclosed all of the sadness in the world.”
    —Jordi Costa: El País

    “This movie (. . .) talks about those moments where we desperately need a breath of fresh air. The protagonist is looking to surface with in order to open her mouth, her lungs and to decir wheter to keep floating or if we are to breath again in order to reach our acquaintances, and to maybe end up swiming in that love and hate aquarium that we call family.”
    —Valeria Jauré: Culturizarte


  • “Visually forceful and narratively understated, the verité-influenced film leans hard on its lush black and white cinematography in its attempt to offer a poetic snapshot of African-American life in the Deep South.”

    —Ben Croll: Indiewire

    “Shot with grace and sensitivity in black and white using available and natural light, What You Gonna Do is a visual treat, the easiest on the eye of all the director’s films to date. It is also, for all its unevenness, a stirring, committed portrait of black lives at a crossroads in the American South.”
    —Lee Marshal: Screen Daily

    “A passionate sketch dedicated to the black lives based on the south highways in Northamerica.”
    —Screen Daily


  • “One of the most misterious and vast movies of the year.”

    —Alonso Díaz de la Vega: El Universal

    “Lee Chang-dong’s Adaptation of Haruki Murakami Story Is a Mesmerizing Tale of Working Class Frustrations (. . .) a beautiful and captivating poetic work.”
    —Eric Kohn: IndieWire 

    “Film that agian shows the talent of a rigorous director and with an expresive forze out of this world.”
    —Luciano Monteagudo: Página 12 

    “Lee has crafted a hypnotic and haunting film that transcends genre to dig deep into the human condition.”
    —Peter Travers: Rolling Stone 

    “A work of sharpness and intenstiy rarely seen.”
    —Luis Martínez: El Mundo

  • Imagen: POSTER-ROMA

    Roma

    “Alfonso Cuarón’s neorealist drama about a family in early-’70s Mexico City is a luminous vision that insists on floating above its characters.”
    — Owen Gleiberman : Variety.

    “The wonderful and revealing, Cuarón’s opus is familiar even to those who were born in the other side of the border.”
    — Claudia Puig: Remezcla

    “The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.”
    — Anthony Lane: The NewYorker

    “Roma’ assembles its narrative out of small moments, as the director’s camera pans slowly through various scenes to soak in the distinctive locale, while dispensing tidbits of story details from unlikely places.”
    — Eric Kohn: Indiewire


  • “The Wolf House explores the idea of house and family as something perverse and welcoming simultaneausly, a place where you always have to go back, but in which our deepest fears are born and hidden (. . .) What’s terrorific it’s not only the house itself, but rather the way in which the house and its inhabitants become more familiar to the humans that made them and observe them. On route to realism, the characters of The Wolf House turn into even more stranger, darker, and sinister beings. Even more so than ourselves.”

    Gonzalo de Pedro: Otros Cines España

    “Each image of their visually stunning and horrifying (. . .)The film explores, in a visceral way, how one thing can morph into another in very fluid process, turning a dark corner at any moment.”
    Nina Siegal: The New York Times 

    “A journey to another realm of deepest fantasies (nightmares) that were conceptualized by a greater imagination.”
    Otros Cines 

    “A hypnotic excercise, where, ultimately, what is being discussed is the consistency of image in film.”
    El Mundo 

    “The Wolf House offers a disturbing experience.”
    The Hollywood Reporter

  • “A surprisingly real and visually amazing story (…) Perhaps the harsh stories about drugs are nothing new, but this one sure has something deep to share.”
    – Owen Gleiberman: Variety

    “The war takes on a mithological tone to narrate what it is, essentially, a story about latinamerican gangsters (…) the makers assume a sober tone that evades the narco movies’ violent excesses.”
     
    Leonardo García Tsao: La Jornada 

    “The result is potent, articulate,  splattered by extraordinary sequences, and it is build wiht a maginific sense of rythm.”
    Sergio Huibobro: Cine Premier 

    “Superbly crafted (…) it intelligently  explores how longstanding traditions can be gradually upended by drugs, money and outside influences.
     Jordan Mintzer: The Hollywood Reporter

    “Is an engrossing narco-thriller which deftly balances the storytelling tradition of the Wayuu with the genre conventions of the crime movie and the western.”
     Wendy Ide: Screendaily