film festivals | The Last Movie Guy

The Beloved (2026): A Desert Between Father and Daughter.

In The Beloved, the desert is the setting of the film the protagonists are shooting, but it is also a reflection of the emotional desolation that separates them. Rodrigo Sorogoyen uses metacinema to construct a family drama centered on the broken relationship between a father and his daughter: he is a successful film director; she is an actress who has not yet found her way. From that conflict, the film draws on each of their demons and creates a remarkably powerful dramatic tension.

Furies (2026): When Survival Becomes a Heist

Posted on 10 Days Ago by Hugo Pagan Soto

In 2019, Lebanon’s financial crisis reached its breaking point. Protests across the country intensified, banks closed their doors, and soon began imposing restrictions on depositors’ withdrawals and transfers. Three years later, the collapse was total: money was frozen in bank accounts, people could no longer access their savings, and many citizens took desperate measures to get their money back. It is precisely in that bleak year of 2022 that Furies, directed by Rami Kodeih, is a work of fiction that comes painfully close to reality.

Nosotros (2026): The Weight of Prejudice

Posted on 13 Days Ago by Hugo Pagan Soto

In his feature-film debut, director Joaquín Ruano explores the complexities of social prejudice and the way it permeates even the simplest aspects of everyday life. Nosotros speaks of the loneliness of migration, corrosive masculinity, and intolerance. The journey from the countryside to the city, one of humanity’s oldest and most inherent journeys, becomes the canvas upon which Ruano constructs his story. Migration is a physical journey, but it also becomes an emotional odyssey.

Angh (2026) – An Echo of a Lost World

Posted on 18 Days Ago by Hugo Pagan Soto

“I sense a looming end, like our relevance is fading with every passing moment.”

Anghba stalks his prey, controls his breathing, his arrow ready to pierce an unsuspecting wild boar. The sound of a boat cutting through the river interrupts the ritual. The arrow never flies, and the boar disappears into the jungle. An absolute premonition in this opening sequence of Angh. The first feature film by Theja Rio expands upon his 2021 short film of the same name. The director tells a story about time as an antagonist and about a slow, almost imperceptible extinction.

Hope (2026) – The Eternal Appeal of the Monster

Posted on 19 Days Ago by Hugo Pagan Soto

Cinema and monsters are a recipe as old as cinema itself. Long before Jaws (1975) turned monsters on celluloid into modern machines for generating blockbusters, cinema had already terrified audiences with an entire legion of grotesque creatures. King Kong, the Creature from the Black Lagoon, Nosferatu, The Golem… the stuff nightmares are made of has always found fertile ground on the big screen. Hope, the new film from Korean director Na Hong-jin, reminds us that this old formula remains just as effective today as it was a hundred years ago.