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    “Territorio plantea dos temas relacionados con la masculinidad: la paternidad y el poder. Crecí en una sociedad que normalizó el machismo, la hostilidad y la violencia. En una época en que es imprescindible redefinir al género, esta película exhibe los vicios e inseguridades del hombre hasta vulnerarlo y confrontarlo con su oscuridad.” – Andrés Clariond Rangel

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    «Este proyecto que nació de un encargo (en este caso, de filmar un programa de mejoras en escuelas primarias de México) da como resultado un producto muy original y completamente alejado, uno imagina, del encargo en cuestión. Se trata de un mediometraje que, en una combinación que recuerda al mejor cine iraní, mezcla historias reales con inventadas a partir del trabajo con niños en el que se combinan, también, el documental con la ficción que ellos mismos inventan. Con la colaboración del escritor Mario Bellatín (quien actúa en el film y presta el título de la película de una historia suya), Pereda y su actor-fetiche convertido en codirector van llevando este film hacia un lugar en el que la imaginación de un chico encerrado por un supuesto problema sanitario se impone por sobre el registro documental aportando un giro dramático y tonal fascinante e inesperado.»
    –Diego Lerer; Micropsia

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    “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 

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    “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 

  • 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 guatemalan cinematographer, Julio Hernández Cordón, gives another step in his career in describing, through film, the virtues and needs of the actual world’s youth with his movie Atrás hay relámpagos.”
    José Luis García: Cinestel

    “In order to be sorrounded by the rich atmosphere of the movie, for moments fun and relaxed, others painful and decadent, one needs to be pacient and sentitive.”
    — David Ornelas: Icónica 

     

    “At first glance, it is hard to follow film , but with a little bit of reflexion, one starts to understand how real life events are gathered; the why as to something happens at certain times and why some others happend very specifically. Wheter it be sad or happy, the movie also shows that the past helps us to understand the present, and how to be prepared for the future.”
    — Gustavo Campos: Contexto 

  • “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

  • “A shocking and risky film that explores, through horror and science fiction, without giving up the social comentary on the contemporary mexican society, homophobia, machismo, gender violence, and indiference.”
    — Javier Pérez: CinePremiere.

    “Ecstasy and agony, Aros and Thanatos as the two drivind forces of the universe that within The Untamed are fulled with a grandious expressive potence.”
    — Beatríz Martínez: El País 

    “This sly and subversive allegorical body horror from the Mexican director of Heli is about the universal drives and addictions that power us all through lifeThis sly and subversive allegorical body horror from the Mexican director of Heli is about the universal drives and addictions that power us all through life.”
    — Peter Bradshaw: The Guardian

    “By rooting the story so firmly in the everyday, Escalante emphasises his metaphoric intent – the thing in the barn stands for the untameable erotic aspect of the Id, but the ‘wild region’ alluded to in the film’s Spanish title (La Region Salvaje) is the destructive drive of humanity, embodied in Angel’s machismo and in the guns and animal head trophies that fill his parents’ home.”
    — Jonathan Romney: Screendaily

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    «En [la] falta de certezas radica el encanto
    de la película y el genio del juego que nos propone
    Donoso: no importa que lo visto y oído en pantalla
    sea cierto o falso, lo único importante es que
    lo hayamos visto».
    — Samuel Lagunas: CorreCámara.

    «Arrinconada, rechazando las covenciones del mundo exterior, ahì se encuentra la hipnotizante Casa Roshell. Un lugar en donde las reglas del género no aplican y en donde los hombres se pueden transformar en mujeres sin que se les juzge o discrimine. El iluminador documental de la directora Camila José Donoso cuenta su historia».
    —Jo Rogers, The UpComing.

    «En este nuevo trabajo, Camila José Donoso posa su mirada cómplice con una forma de vida, más que para exhibirla, para hacer resonar su misterio a través de imágenes que emergen en la penumbra y diálogos que expoonen, pero a la vez confunden».
    — El Mostrador.

    «Este es un relato sobre la identidad de lo que somos y queremos ser, a ratos filosófico, en otros romántico».
    — Alejandro Aravena: Cine Chile.