The world of marital relationships is fertile ground for cinema. Dramas, comedies, thrillers, horror, suspense- you name it. Every genre has produced films that draw from the complex world of human relationships and life as a couple. The Dominican film Animales (2026), directed by José Ramón Alamá, ventures into this territory with a dark comedy built around three marriages whose individual problems come together to create the perfect storm.
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When Theo Angelopoulos began production on The Travelling Players, Greece was under the rule of the Colonels’ Dictatorship. His vision of one of the most turbulent periods in his country’s history was hardly something the military junta’s censors would have approved. In his film, Angelopoulos uses a family tragedy to explore the wounds left by the dictatorship of Ioannis Metaxas, the Nazi occupation, and the Greek Civil War. Evading censorship was the first major achievement of one of the most significant works in the history of cinema, an epic that offers a portrait of modern Greek history.
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The idea behind Motor City, directed by Potsy Ponciroli, isn’t new in cinema. The notion of telling an action movie with practically no dialogue, moving the story forward through mise-en-scène and going from one action sequence to another while allowing the viewer to fill in the blanks, is an exercise with many precedents. Think of Melville’s Le Samouraï (1967), or Boorman’s Point Blank, released the same year. If we want a more recent example, we can look at Nicolas Winding Refn’s Drive (2011). All of them are action thrillers where economy of dialogue becomes a common denominator.
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We can say that Brian De Palma’s golden era reached its peak during the 1970s and 1980s. His auteur signature became fully defined in the works he conceived during those years. His name became synonymous with cinema through films such as Phantom of the Paradise (1974), Carrie (1976), Blow Out (1981), Scarface (1983), and The Untouchables (1987). During this same period, he made one of his most influential films, Dressed to Kill (1980), an erotic thriller with Hitchcockian overtones in which the director poured all his obsessions.
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We have always heard people talk about the “magic of cinema,” as if the ritual of entering a dark theater and allowing ourselves to be carried away by moving images could induce a trance. As if the director’s intention were not simply to tell a story, but to make us experience every minute as if it were happening to us on that screen. Perhaps when the Lumière brothers and other pioneers held their first screenings, audiences experienced that magic in its purest form. As cinema evolved narratively and technically, it found countless ways to conjure its spell and keep that magic alive. The End of Oak Street (2026) is a perfect example: a film that fully embraces the nostalgia of sinking into a theater seat and allowing yourself to be carried away.
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