• The Ascent

    The Ascent

    ★★★★½

    “I know what a human being really is. And you’ll find out too.”


    Don’t leave me in this infinite whiteness. Stare into my soul, I’m here. Save me or take me. Have mercy.

  • A Cop Movie

    A Cop Movie

    ★★★★

    “¿Sí parezco policía?”


    En todas sus facetas, estilos y matices (que son bastantes), y sobre todo en la fluida convergencia de estos, una edición tremenda. Sin duda, la película mejor editada del año.

    Genial desde su concepción, elección del título, formalismos y hasta en sus aparentemente pequeños detalles como el sonido de las sirenas. Muy Kiarostamiesca en sus curiosas navegaciones por las líneas de lo humano y de la recreación; y hasta Fielderiana en sus bastos jugueteos metaficcionales y tragicómicos que realmente te dejan pensando sobre el policía mexicano como un incomprendido icono y lo que representa. Que chido está esto.

  • The Headless Woman

    The Headless Woman

    ★★★★

    “Esa voz no parece tuya.”


    El sonido de la incertidumbre. Un misterio que en realidad nunca lo fue, todo aquí son reflejos.

  • Gummo

    Gummo

    ★★★★

    “Full of beauty and illusions.”


    Life does not move around here, it stays still. Nothing will ever change. A deeply entrancing, disgusting, poetic piece of americana trash.


    There’s something special about you.
    Something special I want.
    Will you kiss me?

  • Lost Girl

    Lost Girl

    ★★★

    “Somos la policía, no nos gusta esperar.”

    Diálogos así de chafas sobran. Y evidentemente tiene sus cositas (y algunas cosotas), pero la verdad es que termina siendo muy divertida. No hacía falta repetir toda la primera parte dos veces, y todos los personajes son o tontos o muy tontos. Pero tiene sus momentos de brillantez, sobre todo con algunos montajes rumbo al final, y qué barbaridad Cristina Rodlo eh, qué barbaridad.

  • Cosmopolis

    Cosmopolis

    ★★★★

    “You want me to be a helpless robot soldier. And all I could be was helpless.”


    Cronenberg’s Holy Motors (which incidentally came out the same year) is, as much as Carax’s unclassifiable unhinged trip, a letter from the future. A sudden destructive urge to create, to be someone. This sees things that haven’t happened yet. Again, we’ve been warned.

  • Free Guy

    Free Guy

    ★★

    “Enjoy your lifetime supply of virginity.”


    So this is where we decided to set the bar for mainstream blockbusters, uh. At least it’s not a sequel or a remake, I guess.

  • Identifying Features

    Identifying Features

    ★★★★

    “Si su hijo está bien, le va a hablar. Pero si no, pues ya no le habló.”

    La tierra de los que ya nunca hablaron.

  • CODA

    CODA

    ★★★

    “You’re holding it.”


    You’ve seen it a dozen times (for instance, seven years ago in the superior La famille Bélier) but it’s good. Funny when it tries to be funny. Touching when it tries to be touching. Hits all the beats in the formula, but it does it with emotional efficiency. There’s not much else you can ask from a movie like this. And my man Eugenio’s the true MVP.

  • Pig

    Pig

    ★★★★

    “You don’t exist.”


    The most obvious deceptive element here is of course the genre tropes subversion, but this also does a brilliant work on hiding its truly bleak nature and take on loss quite astutely. Amongst all the apparently imminent grief and pain, Pig sits agreeably in the darkness. An inherent sadness that in the end does not go away, moreover, it becomes even greater than it was at the beginning. It is necessary, and it is beautiful. Water will flood this city.

  • Olive Kitteridge

    Olive Kitteridge

    ★★★★

    “They leave, and suddenly they’re perfect.”

    Decide to decide, at your own expense, as the biggest act of love there is. To stay, even if sometimes, it makes more sense to just leave. 

    This wrecked me.

  • Three Days and a Life

    Three Days and a Life

    ★★½

    “It looks like the truth’s there, very close.”


    Pretty standard tell-tale heart story but spread over almost 20 years. It could be significantly better if the characters didn’t take the most stupid and unjustified decisions ever. Also, they used arial for the opening titles and I don’t know how to feel about that.