“Surely the most powerful auteur on the Spanish film scene (…) An undoubtedly perfect work” Victor Esquirol, GARA

“One of the most daring, clever and personal inquiries into the web of masks, symbols and fraud that so defines us (…) Vermut is undoubtedly one of the most intriguing, mature and unique voices in new Spanish film. And he’s growing louder” Luis Martínez, EL MUNDO

“A delight that should be savoured slowly and carefully, because the plot has one or two poisonous seeds” Gontzal Agote, BERRIA

“Carlos Vermut has conceived a fascinating tale. The story is replete with tension, excitement and intent and countless furling and unfurling” Juan Zapater, NOTICIAS DE GIPUZKOA

“A beautiful and well-constructed labyrinth around the act of giving and receiving, helping and exploiting, duplicity and imitation, having one’s own identity and wanting to be someone else, losing or winning trust in oneself and in others” Alberto Moyano, EL DIARIO VASCO

“The essence of the Carlos Vermut film narrative and perhaps more polished for the occasion: an unsettling story which opens up like a wound, triggering various states of anxiety in the process, among them pain, forgetfulness and stripped identities” Oti Rordiguez Marchante, ABC

“Sequences that take your breath away and make you feel like cinema is the art of all arts (…) There’s majesty, mystery and solemnity” Juan Zapater, NOTICIAS DE GIPUZKOA

“Kawase’s films are so zen and contemplative, they create the same inner peace as a mouthful of green tea” Oti Rordiguez Marchante, ABC

“Images filled with pure beauty; almost electrifying” Victor Esquirol, GARA

“It’s a darkly funny look at consumerism, fetishism and lonely-hearts ads that features dreams, killer dresses and untimely deaths (…) Strickland is able to divert the narrative away from social commentary to highlight the humorous and musical aspects of the film” Kaleem Aftab, CINEUROPA

“Brave, sharp, unpredictable, a ruthless parody, bold, a crazy narrative, as chaotic and absurd as life itself (…) It makes an undeniable impact that can still be felt days after seeing it. And that’s saying something” Harkaitz Cano, EL DIARIO VASCO

“Bombastic Korean action, technically impeccable, the scenes flit from solemn verbal drama to chases, shootings and stilted camerawork” Dani Soriazu, EL DIARIO VASCO

“Spectacular (…) stunning, overflowing and a brilliant homage to the unforgettable film Jin-Roh” Juan Zapater, NOTICIAS DE GIPUZKOA

“One of the most outstanding works of contemporary Basque cinema” Gorka Erostarbe and Maider Galardi F. Agirre, BERRIA

“This chronical of a breakdown, of so many breakdowns, does well from the fact that Nature devours it, that our closest landscapes (...) lose their usual aspect and transform almost into a landscape left after some future apocalypse” Begoña del Teso, EL DIARIO VASCO

“Celia Rico Clavellino lives up to the expectations generated around her meticulously attentive portraits of a mother-daughter relationship brought to life by her excellent actresses” Alfonso Rivera, CINEUROPA

“A beautiful poem on a not-so-pretty theme. That is, the social burden of the patriarchy. The film makes its point using evocative images and a brilliant idea: turn men (or males) into animals” GARA

“Xacio Baño’s first feature length film has been painstakingly put together (…) The brilliant performance from María Vazquez enriches the story and the spectacular shots chosen by the Galician director take the film to a whole other level” Uxue Arzelus, BERRIA

“Representations of the body and desire are changing something on the screen” Gorka Erostarbe and Maider Galardi F. Agirre, BERRIA

“I was moved (…) a praiseworthy aesthetic (black and white, no soundtrack), monumental camerawork (…) the formidable visual language expresses sensations and feelings with depth” Carlos Boyero, EL PAÍS

“A family story in marvellous black and white (…) There’s much to see in Roma, from the simple, minimal and intimate to the other, gigantic side that depicts earthquakes and turbulence, both social and personal. It gets under your skin, not by piercing or cutting aggressively but as though the story were spread on like a moisturising cream” Oti Rordiguez Marchante, ABC

“The complexity and intrigue of the characters is perfectly depicted (…) the film trots along joyfully, awakening mutual understanding, and frolics with a touch of humour that doesn’t take away its emotional factor. An enjoyable and sensitive movie that even throws some questions out about humanity” Mikel G. Gurpegui, EL DIARIO VASCO

“Jacques Audiard has created one of the best portraits about mutual understanding, respect and brotherly love of recent times (…) An impeccable narrative and powerful visuals, the film from the director of A Prophet is among the most gratifying surprises of the year” Koldo Landaluze, GARA

“Pace, brilliance and vitality. The film brings a smile to your face with its featherweight (though equally combative) tone, its scintillating dialogue, its entanglements, its use of satire and its 70s feel” Mikel G. Gurpegui, EL DIARIO VASCO

“They want to explain the origins of drug trafficking (…) they discuss tradition and spirituality (…) a fresh perspective which is miles away from the other offerings on this now-fashionable issue” Uxue Arzelus, Berria

“Beautiful and memorable” Carlos Boyero, EL PAÍS

“Its trump card is the combination of fiction with archive material, with images of daily life in the city in the 70s (…) a true portrait of a dark time” Oskar Belategui, EL CORREO