Our Time (2019)

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Direction: Carlos Reygadas
Country: Mexico / other

The films of Mexican Carlos Reygadas are structured with enough existentialism and spiritual vision to present challenges to the viewer. I’m remembering how much Japón (2002), Post Tenebras Lux (2012), and especially Silent Light (2007), generated discussion, marking the international cinema with enduring long shots prone to emotionally intriguing reflection.

The director’s new work, Our Time, is a nearly 3-hour examination of a complex, undermined open marriage between Juan (played by Reygadas himself), an arrogant cattle rancher and poet, and Ester (Natalia Lopez, Reygadas’ real-life spouse), a free-spirited mother of three who is fed up with her obligation to report her secret encounters with Phil (Phil Burgers), an American horse trainer temporarily hired to work at the ranch, to her scrupulous husband. With the passage of time, the tension grows exponentially and mistrust envelops the couple's doomed relationship. The story is partially narrated by a kid’s voice and includes letter and e-mail readings as well as phone call conversations.

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Squeezed in the middle of these lives marked by obsession, voyeurism, carnal desire, and ego, we have furious bull fights, which work as a metaphor for leadership and possession in the marital alliance but also as an exteriorization of all the tension accumulated throughout. Under a deceptively polished surface, there’s a lot of emotional fractures, whose delineation, despite valid, won’t appeal to everyone’s tastes.

Reygadas stumbles in this quiet yet powerfully acted tale of love, loyalty, and exasperation, where one pokes around vainly in search of something more than just the facts.

In Juan’s words: ‘love is resilient and imperfect’ and, in some way, that’s what a much less ambiguous Reygadas intends to substantiate here. However, he couldn’t handle this bull by the horns, stretching the time into an absurd extent in order to tell a story that never showed plenitude of heart.

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Museo (2018)

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Direction: Alonso Ruizpalacios
Country: Mexico

Museo, the sophomore feature from Mexican writer/director Alonso Ruizpalacios, is a gorgeously shot, character-driven heist film inspired by the 1985 Christmas Eve robbery of the National Museum of Anthropology in Mexico City. It is only occasionally that its mild tones go beyond the expected, yet even so, it stands as a low-key fun overall with some refreshing takes on the genre.

Gael Garcia Bernal stars as thirty-something Juan Nunez, a college dropout with a sharp taste for and massive knowledge of anthropology. Moreover, Juan is subversive, selfish, and manipulative, a man capable of driving crazy not just the members of his family, but also Benjamin Wilson (Leonardo Ortizgris), his submissive college mate, follower, and best friend. Ambition is another important feat of his personality and that’s why he decided to steal invaluable Inca pieces from the National Museum of Anthropology, where he used to work part-time to pay his leisure time. His idea consists of escaping from the boring suburbs and the control of his vehement father, Dr. Nunez (Alfredo Castro). He and his friend just dreamt of building their own paradise. Sounds great, right?

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Christmas Eve means celebration and, consequently, implies critical breaches in the museum’s security. Juan and Benjamin knew exactly what they wanted to pick. Among the stolen pieces is the funerary mask of King Pakal, which, by itself, makes them multimillionaires. Nonetheless, what seemed obvious to them becomes shrouded in uncertainty, and what should be the simplest part of the plan - selling the art - becomes a nightmare. Juan had the courage to do it. Does he have the courage to fix it?

Ruizpalacios, who did a more consistent job in his 2014 debut drama Gueros, combines adventurous theft, archeology lessons, family aloofness, and a vitiated friendship all in one. The lens of cinematographer Damián García attractively captures all of this, but part of the energy accumulated during the journey wasn’t always canalized in the right direction. It wouldn’t hurt if the relationship between the two leads were further explored or if Juan’s night of excesses was depicted with a bit more creativity.

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Roma (2018)

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Directed by Alfonso Cuarón
Country: Mexico / USA

Versatility and competence are two valuable attributes of Mexican writer/director Alfonso Cuarón, demonstrated in peculiar works like Y Tu Mama Tambien (2001), Children of Men (2006), and Gravity (2013). Yet, none of the above delivered so much personal intimacy and cinematic maturity as Roma, a flawlessly shot drama based on his childhood memories when he was living in Mexico City’s Colonia Roma neighborhood in the early 1970s.

The story focuses on Cleo (Yalitza Aparicio), a humble Mixtec maid working for a middle-class family nearly shattered by the absence of its patriarch, Antonio (Fernando Grediaga), a respected doctor. At the moment that this man decided to abandon the household, his wife Sofia (Marina de Tavira) takes the responsibility of raising four children with the priceless help of Cleo, who also shares other domestic duties with her co-worker Adela (Nancy García García).

The camera captures the routines and dynamics of the family through glorious black-and-white frames polished to compositional precision. The extraordinary cinematography is credited to the director himself, who also co-produced and co-edited. Concurrently, we follow Cleo’s personal problems with her boyfriend, Fermin (Jorge Antonio Guerrero), an immature thug from the slums and martial arts practitioner, who dumps her ruthlessly in the same minute she informs him about a possible pregnancy.

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Taken by frustration and disappointment, the two vulnerable women lean on each other, forging a moving companionship where there is no place for social class stratification. All the guilt, trauma, and pain are attenuated by the love and warmth within the family, regardless of the difficulties that might exist. Sofia and Cleo are brave women, whom Cuarón wanted to thank and honor. And he did it marvelously.

The simple and realistic storytelling discloses individual complexities that made me care for these characters with all my soul. The touching finale is one of the most powerful scenes of a deeply humane film where hope triumphs in times of adversity.

While the performances are immaculately genuine, Cuarón’s unparalleled direction convinced me in every aspect since he never loses focus with trivialities. Every scene is there for a purpose, not by chance. Despite the evocation of another time, connections with the current state of the world can also be established in Roma, an illuminated tale of gratitude and one of the most gratifying experiences I’ve had this year in a theater.

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The Untamed (2017)

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Directed by Amat Escalante
Country: Mexico / other

The work of Mexican director Amat Escalante has been considered as provocative, violent, and emotionally disturbing. This was mirrored in “Heli”, with which he won Cannes' best director, and it’s easily observable again in his latest feature “The Untamed”, a risky piece of cinema that borrows some influence from Andrzej Zulawski’s “Possession”. It gave him another reputed best-director prize, this time in Venice.

Embracing that similar depressing atmosphere as in his previous work, Escalante raises expectation for this one as he adds elements of sci-fi and erotica to pepper a solid family drama. This combination, not always successful but undeniably trendy, should bring him some more followers. Still, this disquieting canvas painted in dark hues may repulse the most sensitive ones through the gloominess that encircles the story from minute one.

The film, written by Escalante and Gibran Portela, follows two different stories that converge at some point. Alejandra (Ruth Ramos) is a dedicated mother of two who lost sexual attraction for her knavish husband, Angel (Jesús Meza). She keeps showing signs of tiredness due to his improper ways, heavy drinking, as well as possessive behavior. In fact, she has every reason to be concerned because Angel, who adopts a homophobic posture in front of her, is having a homosexual affair with Alejandra’s nurse brother, Fabian (Eden Villavicencio). However, the latter is willing to discontinue these dishonorable encounters, especially after he meets Veronica (Simone Bucio), a young woman in need of special treatment due to a deep wound in her belly inflicted by a multiple-tentacle alien that landed on our planet with a meteorite.

This abhorrently weird creature relies on Mr. Vega (Oscar Escalante), a scientist, and his wife Marta (Bernarda Trueba), to find young women to fulfill its concupiscence. “It only gives pleasure and never hurts”, says Veronica, but this is only accurate until it gets tired of playing with the same person. The women who experience it, describe this bizarre yet addictive pleasure as sublime, attaining a primitive and pure state of the sexual act itself.

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When Fabian falls into a coma due to a brutal sexual aggression, the mysterious tones of the story intensify while the doubts linger in our heads.

Even demanding my attention in several sections, this was not an attractive story at all, given that some of the images can be truly somber and disgusting. Besides, it doesn’t take you anywhere beyond the superficial.

Standing somewhere between the art-house explorations of Tsai Ming Liang and Brillante Mendoza, the film presents ever-shifting moods, going from the poignant drama to mild crime thriller to restrained sci-fi horror film. The topics are also diverse, touching homophobia, misogyny, hedonism, and human ignominy. 

Slippery and sly, “The Untamed” boasts some originality.  In spite of that, the extra-sensorial extraterrestrial fiction that Escalante tries to sell becomes more subfusc than scary as the film moves forward.

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A Monster with a Thousand Heads (2016)

Directed by Rodrigo Plá
Country: Mexico

The title “A Monster with a Thousand Heads” can be deceitful in the way it might suggest one of those horror films based on fantasy instead of real life.
Actually, the well-written screenplay by Laura Santullo moves on the realistic side, focusing on an exasperating social problem that not only affects Mexico, the origin of this drama, but lots of other countries, including the capitalist USA. 
We’re talking about the human health and associated insurance companies that profit with what should be free for everybody.

The dramatic thriller depicts the affliction of a mother of two, Sonia Bonet (Jan Raluy), who desperately tries everything to save her husband, Memo (Daniel Cubillo), from a malignant tumor that advances slowly but lethally.
Despite the good news that he doesn’t have metastasis, the case is neglected, lacking the medical supervision and attention it deserves. For sixteen consecutive years, the couple has paid the insurer’s premium, yet the organization refuses to approve the treatment that can make him live.

Unresponsive doctors, an infuriating incompetence from the insurance company, infinite waiting, shameful lies, and immeasurable bureaucracy associated with a simple case, are all factors that drive Sonia to act drastically, having the support of her teenage son, Dario (Sebastián Aguirre), who follows her everywhere. 
Holding a gun in her hand and dragging the insurer’s CEO as a hostage, Sonia starts to collect all the signatures needed to get the treatment approved. Fighting the abusive Mexican system with the use of force makes her exposed to many dangers. Is it worth a try?

Despite the pertinence of the topic, the direction of the Uruguayan-Mexican Rodrigo Plá didn’t impress me as much as it happened with “The Delay”, a gripping drama dated from 2012.
Moreover, and regardless the good performances, a few scenes seemed a bit contrived to me, especially those involving situations of tribulation and panic.
This is an example of a good idea hampered by a flawed execution.

Chronic (2015)

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Directed by Michel Franco
Country: Mexico / France

I can understand why the ‘best screenplay’ was given to “Chronic” at the prestigious Cannes Film Festival, since this English-language drama, directed by the Mexican Michel Franco (“After Lucia”), is an intriguing character study. 
However, that same screenplay that gradually immerses us into the story, sharping our curiosity for such an unreadable character, loses its composure with a finale that deserved a better way out. 

“Chronic” also works as a showcase for Tim Roth’s acting skills. He plays the film’s central character, David Wilson (Roth), a home caring nurse who meticulously and passionately dedicates himself to terminally ill patients. The same proficiency that we already had the opportunity to observe in “Pulp Fiction”, “Reservoir Dogs” and “Four Rooms”, all by Tarantino, and Tornatore’s “The Legend of 1900”, was used.

David is extremely persevering and zealous in his work, but sometimes undisciplined in the eyes of the patients’ relatives. He takes care of them with such a resolute dedication that not everybody is able to understand. In spite of creating strong bonds with them - a sort of dependence, he never asks anything in return. It’s right to say that David needs his patients as much as they need him.
In a very particular case, he allows John (Michael Cristofer), an architect who had a severe stroke, to watch pornography on the computer in order to stimulate the senses and the body. This questionable behavior, when discovered by John’s children, cost him his job at the nursing agency and brings him a lawsuit founded on sexual harassment. 
Despite this maniacal devotion to work, David, who gets visibly bored at home, has serious problems in his private life, starting with his estranged daughter, Nadia (Sarah Sutherland), with whom he lost contact a long time ago and now tries to reconnect with.

Even carrying a touching humane side, the film is set in cheerless tones and becomes hard to watch due to its languid pace and raw approach. 
There’s a certain ambiguity, almost like a secret that we expect to be revealed, that keep us wanting to know more about David.
The ending, abrupt and unsatisfying, prevents “Chronic” from being a stronger achievement.

Eisenstein in Guanajuato (2015)

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Directed by Peter Greenaway
Country: Mexico / Netherlands / others

The British independent filmmaker, Peter Greenaway, author of a sui generis work whose imagination, mordant humor, and individuality are its strongest aspects, doesn’t make it easy for us in his new artistic creation, a half-baked biographical drama about the Russian filmmaker, Sergei Eisenstein. The latter, here played by the Finnish actor, Elmer Bäck, started his career by gaining a fantastic reputation worldwide with his revolutionary first movies: “Strike”, “Battleship Potemkin”, and “October” a.k.a. “Ten Days That Shook the World”.
 
The visionary Greenaway, faithful to his undomesticated scenic compositions, covers the period since the day Eisenstein arrived in Mexico in 1931 to make a privately funded film, until his final departure for the Stalinist Russia, mirthless and snotty, after a prolonged stay packed with intense personal experiences. Prior to his Hollywood dismissal, Eisenstein was feeling lonely and homesick, deciding to continue his career in Mexico where their artist friends, Frida Khalo and Diego Rivera, were waiting for him. He was so amazed by the country that he shot nearly 250.000 linear feet of film (approximately 50 hours) for his new movie, which had to be stopped by the dissatisfied production company, after growing out of money and patience with the ineptitude of the filmmaker in giving it a coherent direction. 

Mr. Greenaway points the stirring camera toward the homosexual relationship between Eisenstein and his Guanajuato-guide, Palomino Cañedo (Luis Alberti), a married man and father of two, who becomes the reason for the extended permanence of the filmmaker in the country. Regardless of his new companion, with whom he likes to have long discussions on sex and death, Eisenstein calls Russia, to speak to his wife, Pera Atasheva, whenever bored or in trouble.
Often excessively exhibitionist and deliberately trying to extract eccentricities from every scene, “Eisenstein in Guanajuato” feels theatrically awkward, characterizing its protagonist in a pathetic, frivolous way. Intended to be a rollicking piece of entertainment and also a condensed lesson on art, this balmy piece of fantasy makes reference to numerous directors, poets, writers, architects, thinkers, and a variety of other personalities of the art world. 
Our eyes are pelted with sumptuous images, digitally manipulated to form calculated misrepresentations. The screen is occasionally divided into three parts, and once in a while, there are brief insertions of old movie fragments. The problem is that the narrative doesn’t level with the visual exposure. Instead of a veritable human being, our central figure seems more like a clown who even considers himself funny whenever out of clothes. 

The favorable spells that are usually drawn from Mr. Greenaway’s unique style couldn’t be seen this time, unable to survive to a compulsive bawdiness, whimsical shoeshines, and wobbly conducts. Anyway, as a sort of consolation, ‘Que Viva Mexico!’ will be forever in the minds of the true cinephiles.

Gueros (2014)

Gueros (2014) - Movie Review
Directed by: Alonso Ruiz Palacios
Country: Mexico

Movie Review: It’s impossible not to feel some empathy with “Gueros”, a very Mexican experience with a touch of the 60’s French New Wave from debutant director Alonso Ruiz Palacios. With a virtuous sense of humor, Palacios, who co-wrote with Gibrán Portela (“The Golden Dream”), addresses the student youth in Mexico City through the story of Fede (Tenoch Huerta), aka Sombra, a reclusive, depressed, and aimless university student, experiencing panic attacks, whose life will change completely after the unforeseen arrival of his younger brother, Tomas (Sebastian Aguirre). The latter, evincing an ebullient personality, soon starts complaining and yelling against the numbness of his brother who shares the filthy apartment with another slacker called Santos (Leonardo Ortizgris). When Tomas finds out that an old popular Mexican singer, Epigmenio Cruz, is hospitalized nearby, they decide to visit him, right after the drunken Sombra has been forcibly evacuated from home due to stealing electricity from a neighbor. The times are of protest and a big student strike movement is taking place in the university and often throughout the streets. The leader of this movement is Sombra’s girlfriend, Ana (Ilse Salas), who is persuaded to join the trio of boys in an adventurous trip. A trip whose distinct and uneven episodes try to mirror the state of today’s Mexico with its revolutions, pop culture, and socio-political problems – aspects that not always take the best course here but also never dismantle our interest. In particular occasions, like when the protagonists admit they’re in a film within the film, it seems that the story is going to turn into something different, an expectation that keeps us holding on. “Gueros” makes sure to show all these conjunctures but never bothers in confronting or exploring them further. Nevertheless, ambition and filmmaking ability is something that Palacios attested; it’s a pity he didn’t take more advantage of that.

The Amazing Catfish (2014)

The Amazing Catfish (2014) - Movie Review
Directed by: Claudia Sainte-Luce
Country: Mexico / France

Movie Review: “The Amazing Catfish” is a Mexican drama that revolves around Claudia (Ximena Ayala), an unenthusiastic supermarket employee who was literally adopted by the HIV-positive Martha (Luisa Owen), after they've shared the same hospital room. Claudia was subjected to surgery after she was diagnosed with appendicitis while the moribund Martha is a dedicated mother of three daughters and a son, who was infected by the father of her two younger children. In their own way, each child is in need of attention – Ale, the oldest, is deeply affected by a breakup; Wendy seems lively and self-assured in her decisions but hides some worrying details of her life; the two youngest, Armando and Mariana, are frightened and disoriented with the situation of their mother. Claudia plays a central role within this family; the family she never had. More heartwarming than conspicuous, the film suffers from occasional relaxation, and its intentions of being seen as more natural as possible, sometimes fall in repetitive situations that don’t add much to the story. The characters could, and should, be better developed, but instead, the debutant filmmaker Claudia Sainte-Luce seemed more concerned about showing us bee stings, mosquito bites or jellyfish burns, besides Armando’s catfish swimming in a bowl of water. She tries to counterbalance the heaviness and sadness of the central story, creating situations that are both positive and encouraging – a vacation trip to the beach, friendly conversations, little moments of joy, a comforting shoulder when one has to cry. All this is justifiable but, even though, the film worked emotionally intermittent for me, ending as a personal letter that missed my essence’s address.

Heli (2013)

Heli (2013) - Movie Review
Directed by: Amat Escalante
Country: Mexico / others

Movie Review: Part of the Latin-American new wave cinema, “Heli”, is a powerful film set in Mexico, that starts with a memorable scene in which two harmed men are taken in the backside of a pickup truck and one of them is brutally hanged in a bridge. The story then shifts back in time to makes us get to know Heli, a car factory employer who shares house with his dad, wife, baby daughter, and younger sister, Estela. The latter is in love with a young police cadet who wants to marry her and runaway from small town, but choosing the wrong way to do it. Well informed, he steals a couple of cocaine packets, propriety of an unscrupulous gang, that were hidden in a remote place. This action will change the life of everyone, since the drug was placed inside the external water tank at Heli’s home. The visceral scenes of violence will stay in your head for a while, and to tell the truth, the film never lost meaning and was quite penetrating till the end. An adjacent subplot, regarding Heli’s marital crisis, ends up oddly related to the main one, and even here, we cannot stop being curious or get disarmed by the occurrences. “Heli” is an agonizingly depressive film that gives us a prospect of ruinous future for its characters through well-established frames. Helmer Amat Escalante won Palm Spring’s Cine-Latino award and was considered best director at the prestigious Cannes Film Festival.

We Are the Nobles (2013)

We Are the Nobles (2013) - Movie Review
Directed by: Gary Alazraki
Country: Mexico

Movie Review: “Nosostros Los Nobles” a.k.a. “We are the Nobles” is a Mexican comedy that was turned into a top box-office in its origin country. Gary Alazraki’s directorial debut gives us the story of a rich family that suddenly became poor, in a stratagem of Germán Noble, a protective father and owner of a well-succeeded company, who made all the arrangements to teach their three slacker children a lesson on how tough life can be. Javi works with his father but only wants partying and is lost in ruinous business ideas; Barbara is the most spoiled and arrogant, willing to marry an opportunist who tries to pass himself as Spanish; Carlos, in turn, is a zen guy who makes part of an anti-capitalist group and is having an affair with his teacher. Therefore, no other option is available for them than start working hard in order to have some food at the table. After create this pretended situation, even Germán will understand that he himself has many things to learn about their children. Eased by the solidly built characters, the cast did a good job, helping to turn this social criticism in a watchable film, even considering its familiar tones and here and there some exaggerated situations. Adorned with warm colors, and more moralistic than really believable, “We Are the Nobles” gains in entertainment what lacks in originality, becoming the second comedy coming from Mexico released this year, along with “Instructions Not Included”.

Post Tenebras Lux (2012)

Post Tenebras Lux (2012)
Directed by: Carlos Reygadas
Country: Mexico / others

Review: Carlos Reygadas’ particular way of filmmaking always caused me mixed sensations; he really knows how to create bewildering experiences but at the same time, there are always some setbacks that make me move away from his complex visions. “Post Tenebras Lux”, which means ‘light after darkness’, is a semi-autobiographical film that was made purposely to baffle us, being presented as a sort of a bizarre dream. The film, shot with rigor, presents a peculiar effect that consists in blurring the screen around the edges to enhance the dreamlike idea. The story follows a Mexican middle-class family that decided to move to the countryside, but the isolation will bring negative consequences to their relationship. The only thing that we have sure is that the early visit of the devil (in an animated form) certainly represents a bad omen, but after that, the film starts an odyssey through the inexplicable by presenting us apparently unrelated situations that I often find myself asking what the hell Reygadas was trying to say. “Post Tenebras Lux” is as much intriguing and captivating, as it is despicable and frustrating. Pretentious or not in its disjointed structure, I cannot deny that I was immerse in the story till the end, but can only recommend it for those who don’t mind to have something to decode in practically every scene. It just aims to our senses without worrying with any particular message or logic.

After Lucia (2012)

After Lucia (2012)
Directed by: Michel Franco
Country: Mexico / France

Review: “After Lucia” is an atmospheric drama that will not leave you indifferent. After his wife Lucia has died in a car accident, Roberto and his 17 year-old daughter Alejandra, decide to move from Puerto Vallarta to Mexico City in an attempt to rebuild their lives. Once they arrive, Roberto, visibly depressed, shows incapacity to work properly, while Alejandra seems to start getting along with her new friends at school, being invited to parties where drugs, alcohol, and sex, are pretty common. In one of those parties she has a sexual adventure with Jose who used his mobile phone to record everything. The posterior publication of that video on the Internet, makes Alejandra a victim of her colleagues’ atrocities, transforming her life forever. One or two aspects could have been improved, like Roberto showing some more impatience or concern after Alejandra’s disappearance, but Franco’s discernment and self-confident direction along with the absence of emotional tricks, made the tension grow consistently as the film approaches to the disturbing finale. The spontaneous acting from the cast in general also gave credibility to a story that guaranteed my complete involvement. Presenting a strong conception and execution, “After Lucia” exposes the horrors of bullying, the inconvenience of technology, and the blindness of revenge, all in the same package.

Miss Bala (2011)

Directed by: Gerardo Naranjo
Country: Mexico

Plot: The story of a young woman clinging on to her dream to become a beauty contest queen in a Mexico dominated by organized crime.
Quick comment: Reveals a smart plot within a clumsy style, where lots of betrayals take place, involving police, government and drug cartels. The title of the movie was inspired in a famous Mexican pageant named “Miss Baja California” which is a dream for many girls. The movie shows how easy it is for any innocent person to be tangled in the schemes of the corrupted mexican system. It's only a matter of being in the wrong place at wrong time.
Relevant Awards:

Alamar (2009)

Realizado por: Pedro Gonzalez-Rubio
País: Mexico

Natan é um miúdo de 5 anos, filho de Jorge - um nativo mexicano de raízes Mayan, e de Roberta - uma italiana. Após algum tempo de felicidade, os pais separam-se devido a divergências no modo de vida que pretendem. Jorge prefere uma vida descomplicada no meio do mato e vivendo da pesca, enquanto Roberta prefere meios urbanos, decidindo voltar para Roma com o filho. Antes disso, Natan fará uma última viagem, em jeito de despedida com o pai que dificilmente irá esquecer.
Apesar do filme não ter grande movimento, conta com personagens reais e é suficientemente honesto na sua abordagem.




Lake Tahoe (2008)

Realizado por: Fernando Eimbcke
País: Mexico

Fernando Eimbcke já tinha dado provas de talento no seu anterior trabalho "Temporada de Patos"(2004). Quatro anos depois regressa às longas-metragens da melhor maneira possível, onde cada plano é transformado numa autêntica obra-de-arte.
A um ritmo lento, conta-nos a aventura de um jovem numa estranha cidade mexicana, após o seu carro ter ficado imobilizado ao embater num poste telegráfico. O tempo que permanecerá na cidade e a viagem de regresso, vão fazer com que tome consciência dos motivos que o levaram a fugir de casa. Para quem gosta de filmes alternativos, este é um a não perder.

Sin Nombre (2009)

Realizado por: Cary Fukunaga
País: Mexico

Com um início promissor, muito forte visualmente e bem interpretado, cai no entanto na segunda metade para os "clichés" habituais neste género de filmes.
Apesar deste facto, não o deixo de recomendar, uma vez que retrata a realidade violenta dos gangs mexicanos e dos seus códigos de honra e rituais.
Prémios para a realização nos Festivais de Estocolmo e Sundance.