Mixing humor, melancholy, and political resonance, Alejo Moguillansky’s film becomes both a reflection on endings—of relationships, of art, of a country—and a luminous celebration of cinema, theater, and music.
Tag "Orizzonti"
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‘Pin de fartie’ Venice Review: A Playful, Poignant Meditation on Finitude
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Venecia 2025: crítica de «Pin de fartie», de Alejo Moguillansky (Orizzonti)
Tomando como inspiración «Final de partida», de Samuel Beckett, la película del director de «Castro» explora las relaciones entre una serie de parejas en distintos lugares del mundo.
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Venecia 2025: crítica de «Grand Ciel», de Akihiro Hata (Orizzonti)
En la construcción de un megaemprendimiento de lujo, un obrero queda atrapado entre la lealtad a sus compañeros y las presiones de sus jefes. Desapariciones, accidentes y ruidos inquietantes convierten la obra en un espacio fantasmagórico en un film que combina realismo social con alegoría para mostrar el costo humano de los sueños levantados sobre la explotación.
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‘Grand Ciel’ Venice Review: Labor Struggles in the Shadow of Progress
On a massive construction site for a luxury mega-development, a night-shift worker becomes caught between loyalty to his fellow laborers and pressure from his bosses. As disappearances, accidents, and strange noises unsettle the site, this French drama blurs social realism with eerie allegory, exposing the human cost of dreams built on exploitation.
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«En el camino» Venice Review: Tenderness in the Shadow of Violence
A young drifter and a taciturn trucker form an uneasy bond on Mexico’s highways, caught between desire, loneliness, and the looming threat of violence. David Pablo’s film is a dusty, melancholic road movie that finds fleeting tenderness in a brutal world.
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“Un cabo suelto” Venice Review: Daniel Hendler’s comedy of escape and reinvention
This offbeat comedy follows a runaway Argentine policeman adrift in Uruguay. A tale of loose ends, new beginnings, and the cultural quirks of life on both sides of the Río de la Plata.
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Venecia 2025: crítica de «Hiedra», de Ana Cristina Barragán (Orizzonti)
La directora ecuatoriana de «La piel pulpo» construye un relato delicado sobre dos extraños que podrían ser familia… o simplemente necesitan creer que lo son. En Orizzonti.
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‘Hiedra’ Venice Review: A lyrical portrait of mothers, sons, and missing ties
Ecuadorian filmmaker Ana Cristina Barragán crafts a delicate, dreamlike story of two strangers who might be family—or might only need to believe they are.
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Venecia 2025: crítica de «En el camino», de David Pablos (Orizzonti)
Un joven errante y un camionero taciturno forjan un vínculo inestable en las rutas de México, atrapados entre el deseo, la soledad y la amenaza latente de la violencia.
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‘Songs of Forgotten Trees’ Venice Review: Two Women Seeking Connection in Mumbai
In bustling Mumbai, two very different women share an apartment yet live separate lives. Gradually, their solitude gives way to an unexpected bond built on connection and mutual support. In Orizzonti.
