“Haneke (…) masterfully portrays life’s decline and the fragility of human existence. His work provides a looking glass through which we can observe life. He portrays this life fearlessly and without complexes, awakening powerful emotions in us without resorting to sentimentalism".
Iratxe Fresneda, GARA

“When watching Amour, we are struck by the same sensations of uneasiness and anguish that take hold of the character played by a splendid Jean-Louis Trintignan, who finds himself trapped in his apartment and forced to witness first-hand the progressive physical, mental and psychological deterioration of his partner”.
Koldo Landaluze, GARA

“Jarecki, without fussing over style, manages to deliver a plot that alone acts as bait on a fishing rod, keeping the viewer writhing on the end of the line until the very end”.
Oti R. Marchante, ABC

“Arbitrage moves over rocky ground: it's a commercial thriller, with doses of family life, lovers, police investigations and corporate betrayals. It also functions, however, as a work of intelligent cinema, and sends a clear message about greed, the moral corruption of those in power, and life's injustices”.
Carlos Boyero, EL PAÍS

“Arbitrage is one of those films that has such a solid plot it seems to have been adapted from a prize-winning novel. This, however, is clearly not the case, as it displays too profound a knowledge of the film narrative”.
Mikel Insausti, GARA

“Zeitling creates a harrowing landscape, where the people have deteriorated as badly as their natural surroundings. However, things weren’t always this way”.
Pedro San Juan, EL CORREO

“Proud film-making, free use of the camera, and a flawless script. An indomitable pride which tames the Beasts and captivates viewers”.
Begoña del Teso, DIARIO VASCO

“Original in its plot, powerful in its visual treatment, Zeitlin films the edible animals as though they were people and the people as though they were simply a source of food."
Alberto Moyano , DIARIO VASCO

“Breathtaking”
EFE, NOTÍCIAS DE GUIPÚZKOA

“Silent City makes it presence felt even through textures. Those of its celluloid? Of course, but those of its celluloid are the same as the ones on the fish that Rosa learns to fillet”.
Begoña del Teso, DIARIO VASCO

“A documentary transformed into a work of fiction, using 85% of true and reliable data (…) filmed with tiny, agile and sophisticated digital cameras which fit snugly with this low-budget production designed in style by Lee Bonner”.
Begoña del Teso; DIARIO VASCO