“Javier Gutiérrez creates an impressive character, in whom the electrifying and the repugnant combine within a moral complexity which is a pure metaphor of Spain’s scar tissue, counterbalanced by Raúl Arévalo’s noble, on-the-brink detective.”

Oti Rodríguez Marchante, ABC

“The 2015 Goya Awards already have a formidable candidate.”

O. L. Belategui, EL CORREO

“It traps you from the first minute, with images of stunning, curved shapes which could just as easily be marbled paper or images from a brain scan, but which turn out to be the Guadalquivir marshes as seen from the sky.”

Mikel G. Gurpegui, EL DIARIO VASCO

“Vibrant, steering clear of false moralism, and shunning soulless, formulaic genre devices, the 7 Virgins director breaks down the mechanics of the thriller genre and transforms them into the perfect description of the wounds of our time.”

Luis Martínez, EL MUNDO

“Alberto Rodríguez’s best work to date.”

Nando Salvà, EL PERIÓDICO

“Forget what they say about America being the only country that makes good genre films. Let’s talk about «Marshland», an extremely dark and astonishing film, in which Seville-born director Alberto Rodríguez has announced his arrival on the second day of the San Sebastián Film Festival’s Official Section.”

Miguel Ayanz, LA RAZÓN

“The subject couldn’t be any more interesting and topical: sexual identities, the myths, taboos, and doubts that surround them, and the human rifts they can cause.”

Gontzal Agote, BERRIA

“Ozon the militant non-conformist returns, the Ozon who produces impossible feats of film-making and settings imbued with striking aesthetics.”

Juan Zapater, DEIA

“It is rare hat you find a director as provocative as Ozon.”

Mikel G. Gurpegui, EL DIARIO VASCO

“Roman Duris’s brilliant performance stands out, as does the film’s irresistibly relaxed style.”

Luis Martínez, EL MUNDO

“François Ozon takes mundane, everyday activities such as leaving the house or going shopping, and uses them to emphasise the construction of a new identity and, beyond this, our fear of externalising our deepest feelings.”

Ariane Kamio, GARA

“(…) prepare audiences to see a crazy, seductive comedy like few others.”

Mikel Insausti, GARA

“It is a love story that is underpinned by film-making that startles the viewers with exquisite surprises.”

Begoña del Teso, EL DIARIO VASCO

“This makes the documentary scream at us, as though its life depended on it, to consider it a sublime piece of cinematographic expression.”

Victor Esquirol, GARA

“A beautiful photographic and human portrait.”

Ricardo Aldarondo, EL DIARIO VASCO

"This documentary about the life and work of photographer Sebastiao Salgado is one of the year’s must-see documentaries; it is part of that extraordinary - and not clearly-visible - harvest in commercial cinemas."

Iratxe Fresneda, GARA

“Highly intense, dramatic, emotional, magnificently-acted, and benevolently manipulative, «Silent Heart», a film containing no reverse angle shots, eulogises the ‘good death’ (…)”

Oti Rodríguez Marchante, ABC

“When watching the cast in action, it feels like we are watching a group of old friends. Well-written and even better acted, the dryness of the subject reaches moments of intense brilliance thanks to them.”

Juan Zapater, DEIA

“It makes wise points without resorting to brow-beating. It is serious without causing harm.”

Luis Martínez, EL MUNDO

“The Danish film-maker enjoys a fantastic reception for his drama «Silent Heart»”

Gregorio Belinchón, EL PAÍS

“Bille August (Virum, 1948) manages to move the viewer with a film that oozes sensitivity, irony, and good humour.”

Xole Aramendi, GARA

“(…) the subject it tackles is highly interesting.”

Beñat Eizagirre Indo, BERRIA

“The Pearls Section features the solid and moving César Chávez, by Diego Luna.”

Beñat Eizagirre Indo, BERRIA

“Avoiding excessive raucousness, perhaps emulating César Chávez himself, the film is technically sound and moves at a gentle pace."

Koldo Landaluze, GARA

“Gibney’s work generally focuses more on the man than on his music. It manages to transmit his true feelings and motivations to the viewer, showcasing his greatest strengths while also unflinchingly laying bare his biggest weaknesses. Fela Kuti was a man of great strength, and the film manages to transmit that strength in many of its scenes.”

Juan Luis Zabala, BERRIA

“Of entries, the remarkably acted «Casa Grande» marks documaker Fellipe Barbosa’s fiction debut, depicting a wealthy Brazilian family’s breakup. «Casa Grande» preemed at Rotterdam Fest, to a highly upbreat critical reception, and took Audience and Fipresci awards at the Toulouse Cinelatino Rencontres this year.”

Emilio Mayorga, VARIETY.COM

“The film makes a virtue of its limited budget: there is absolutely nothing to distract us from the story being told. Thanks to the sound, some carefully-crafted props and the work of the actors, the viewer is hooked right from the beginning."

Harkaitz Can, EL DIARIO VASCO

“’The silly ones and the stupid ones’ is superb and incredible in each of its shots, in each of its nooks and crannies; in its rich (yes, ‘rich’) production and art direction. It excites. It moves.”

Begoña Del Teso, EL DIARIO VASCO

“Castón puts in play an intelligent game of dialogue and emotions, captured in Spartan scenes dominated by chiaroscuro.”

Koldo Landaluze, GARA

“German Tejeira has created a tender, pleasant and likeable film for the New Directors section.”

Beñat Eizagirre Indo, BERRIA

“(…) we are talking about one of those works of art which, within its obvious imperfection, ironically manages to come close to perfection.”

Víctor Esquirol, GARA

“A loveable film”

Carlos Pumares, LA RAZÓN

“Karim Aïnouz adopts a powerful visual style in order to talk to us about love, roots, and the search for freedom.”

Victor Esquirol, GARA

“The main character is Tom Hardy, but the film also offers another point of interest: it is James Gandolfini’s last film appearance. It therefore affords us a unique opportunity to see this unforgettable actor in his last role.”

Gontzal Agote, BERRIA

“The viewer feels a special kind of pleasure observing the passage of the years in such a short period of time, as though they were leafing through the pages of a filmed family album, suddenly seeing a lazy, joint-smoking teenager who on the previous page was a cute, playful child.”

Harkaitz Cano, EL DIARIO VASCO

“Hard-hitting, tough, and sordid are not adjectives which one would expect to be associated with a film featuring exclusively deaf-mute characters. But alas, that is ‘The Tribe’, an astonishing film which won both the Grand Prix and the Prix Révélation at Cannes Critics' Week this year.”

Ricardo Aldarondo, EL DIARIO VASCO