THE WEASELS’ TALE (EL CUENTO DE LAS COMADREJAS) (2019) by Juan José Campanella
“Should we deserve a second chance?”
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7 REASONS TO RUN AWAY (FROM SOCIETY) (7 RAZONES PARA HUIR) (2019) by Gerard Quinto, Esteve Soler & David Torras
“The dead deserve, at least, an aesthetic respect”
Continue ReadingBOSS (JEFE) (2018) by Sergio Barrejón
“The best blows are those that can not be seen coming”
Continue ReadingPERFECT STRANGERS (PERFECTOS DESCONOCIDOS) (2017) by Álex de la Iglesia
“We all have a secret life”
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THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017) by Martin McDonagh
“This time the girl doesn’t lose”
Continue ReadingLOTS OF KIDS, A MONKEY AND A CASTLE (MUCHOS HIJOS, UN MONO Y UN CASTILLO) (2017) by Gustavo Salmerón
“The wisdom of imperfection” I had the immense luck of being invited to the preview, in the Babel cinemas of
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THE COMMERCIAL FILM OF THE WEEK
ROUGH NIGHT (2017) by Lucia Aniello “One more crazy binge” We live times of change, and the cinema as a
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SKINS (PIELES) (2017) by Eduardo Casanova
“There are people in the world who it’s better not see” We can deploy the pink carpet, pink, to jut
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A MAN CALLED OVE (EN MAN SOM HETER OVE) (2015) by Hannes Holm
“Christmas tale in the Swedish-style”
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CAPTURE (CAPTURAR) (LAS 1001 NOVIAS) (2017) by Fernando Merinero
“Alive film on putrid background”
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T2: TRAINSPOTTING (2017) by Danny Boyle “Face your past. Choose your feature” It’s been 20 years since Mark Renton left
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PENNY PINCHER! (RADIN!) (2016) by Fred Cavayé
“Falling in love can be very expensive”
Continue ReadingTHE TREASURE (COMOARA) (2015) de Corneliu Porumboiu
“I think it’s a once in a lifetime opportunity”
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