“Now comes his most ambitious storytelling effort to date, ‘Neruda,’ which begins as a straightforward period piece before evolving into something far more intriguing: a meditation on the country’s mythological relationship to heroes and villains told from two sides at once.” —Eric Kohn
“While technically a fictional narrative, it provides a bridge to Mascaro’s nonfiction background by emphasizing the sights and sounds of a contained environment. Lyrically involving and deeply sensual, ‘Neon Bull’ showcases a full-bodied artist in command of his form.” —EK
“Best of all, the film is about the wider society of the time and the political corruption and ruthlessness that lingered like a hangover to mar the nascent democracy, but it is also the incredible story of a single family —the ‘clan’ of the title— and so it has both sprawl and intimacy, as well as a certain degree of allegorical power, in which the family’s corruption mirrors that of Argentina in those unstable years.” —Jessica Kiang
“Though Braga’s performance sometimes outshines Mendonça’s leisurely two-and-a-half hour narrative, in its better moments the two work in marvelous harmony.” —EK
“This is a heckuva stimulating cinematic achievement for a relative newcomer. ‘The Human Surge’ offers a shrewd commentary on the dissonance of technological connectivity and personal communication. No matter the global networking possibilities afforded by the digital age, it’s still possible to feel alone.” —EK
Co-directors Francisco Márquez & Andrea Testa’s debut feature, ‘The Long Night of Francisco Sanctis’ impressed at Cannes this year with is look at Argentina in the late 1970s.
“It turns out that wasn’t Jodorowsky’s last time in the spotlight: This year, he returns to the Cannes Film Festival with another personal effort, ‘Endless Poetry’ — the second part of a proposed five-movie cycle — which chronicles his experiences as a young man. The result has him grinning like one himself.” —EK
“But like Ariel’s late-movie choice that gives the film its title, ‘The Tenth Man’ is the satisfying result of a natural series of glimpses into a slowly-changing life.” —Steve Greene
“Like Britain’s Joanna Hogg, Solnicki develops a fascination with the poetic nature of palatial homes and the impact they have on people lost in their confines. While the opera plays throughout the film, ‘Kékszakállú’ develops its own rhythms out of a fascinating character study about modern women.” —EK
Ciro Guerra’s transcendent drama wowed the 2015 festival circuit and was nominated for the Best Foreign Language Oscar this year, but it opened in U.S. theaters in 2016 and is so masterful that it demands your attention. Shot in gorgeous black-and-white, “Embrace of the Serpent” is a carefully measured meditation on imperialism, spirituality and man’s relationship to nature and each other.
“Give ‘Desierto’ credit for this: There has never been a more appropriate time for a tense thriller about Mexican immigrants avoiding the murderous advances of a gun-wielding American lunatic.” —EK
“A tightly clenched fist of a film, there’s no doubt that ‘From Afar’ heralds the arrival a new talent in debut Venezuelan writer/director Lorenzo Vigas.” —JK
“Jayro Bustamante‘s debut feature “Ixcanul” generates its power from an intimate observance of the quotidian. As such, its titular volcano — the translation of Ixcanul in the Mayan K’iche’ dialect spoken in Guatemala — is the least volcanic thing in it.” —Nikola Grozdanovic