‘Iria knows how to be suggestive. She does not use a large paintbrush, but a small one. With just to details she announces us what do Negus, Chale, Chata and Sapo do when they get off the skate, when they finish the graffiti or the joint they have shared.’
Begoña del Teso, DIARIO VASCO

‘Taught an exciting lesson of how can be understood and transmitted what is poetry.’
Juan Zapater, NOTICIAS DE GIPUZKOA

‘A proud tribute, made by people able to appreciate how much of excitement and significativeness is between “bertsolaris” and how to bring it to the screen.’
Mikel G. Gurpegi, DIARIO VASCO

‘He has captured poetic and astonishing images.’
Maddalen Larrinaga, GARA

‘A sample of the narrative power of young creators who are presenting thirteen films at Horizontes Latinos section.’
Alicia G., EFE

‘Making use of all kind of publics, Labaki composes a present fresco aimed at being nice for all kind of publics.’
Koldo Landaluze, GARA

‘Epic, but mainly human, Living in the Material World stresses the dual condition of the depicted.’
B.D., PÚBLICO

Fresnadillo achieves a perfect balance between the childhood blackness of the tale and the obvious sordidness of the adult world, and gradually places the keys of the plot with and absolute expertise to avoid that the spectator make himself or herself comfortable neither in the fantasy nor in the reality.’
E. Rodríguez Marchante, ABC

‘The director from Tenerife has managed to make an impeccable visual film.’
O. Belategui, EL CORREO

‘The story terrorizes to the extent of dazzling and dazzles to the exact limit of terror.’
Luis Martínez, EL MUNDO

‘Its aim is to amuse us and whet our appetite during an hour and a half. Mission accomplished in both fronts, thanks to the rows of a pair of sentimental clumsies who (...) fall hopelessly in love while they try to save a chocolate factory from bankruptcy.
Víctor Esquirol, GARA

‘The prodigious film jumps between the past and the present, runs between parallel realities, it does not permit the spectators to lower their guard, and when it finishes, it does not end; continues.’
Begoña del Teso, DIARIO VASCO

‘A trip through the sordid world of the drug trafficking.’
Alicia G., EFE

‘A magnificent analysis of the man panic-stricken by his proper destiny, his tragic fate’
Antón Merikaetxebarría, EL CORREO

‘This film is part of a serious cinema which leaves the spectator trembling with the most powerful beginning the Spanish cinema has seen in many years.’
Mikel G. Gurpegui, DIARIO VASCO

‘José Coronado (who really deserves to be crowned in this Festival) captures the essence of this man called Santos Trinidad with just to brush strokes.’
E. Rodríguez Marchante, ABC

‘A quick and severe blow on the thumb of soul or a little bit more up on the backbone of the retina.’
Luis Martínez, EL MUNDO

‘The most sinister event happened in this country during this century, that damn M-11, has found in Urbizu a chronicler who is unpayable managing the fiction based in so many frighteningly real details.’
Carlos Boyero, EL PAÍS

‘José Coronado is absolutely brilliant. He fills the screen with his interpretation.’
Carlos Pumares, LA RAZÓN

‘It is cloaked in a sublime, swollen darkness.’
Begoña del Teso, DIARIO VASCO

‘An excellent, amazing and different Opera Prima.’
B. Eizagirre Indo, BERRIA

‘So beautiful, so wonderful, so peculiar, so imbued with films of the past and so able to walk on oaths not drown yet, on rails that does not exist.’
Begoña del Teso, DIARIO VASCO

‘It pulls you to the screen because of its characters, those people that go from fair to fair with their bumper cars ring loaded in their lorries.’
Begoña del Teso, DIARIO VASCO

‘The role of women according to the gipsy ethnic group’s traditions, begging, alcoholism, infidelity, death. Nothing is hided to the camera, which consequently becomes the protagonist.’
B.D., PÚBLICO