This week the ninth installment of a famous action saga hits theaters Fast & Furious, this time directed by Justin Lin. Also two dramas: The things we say, the things we do, in which the director and screenwriter, Emmanuel Mouret, investigates the theory and practice of love and desire, and a buddy movie French about two friends who want to train a giant fly, Jaws.
Among the heterogeneous premieres there is a documentary in homage to the voices of Iran and the silence of Iranian cinema, A blues for Tehran; The traveler, Miguel Mejías’ first film that plunges into the loneliness of mourning, mixing entomology, death and cinema, and a thriller Spanish on the crisis affecting drug trafficking, Dead man does not know how to live.
FAST & FURIOUS 9. Justin Lin.
Dom Toretto leads a relaxed life with Letty and her son, little Brian, but a threat causes the team to reunite to prevent a worldwide plot. They face one of the most dangerous assassins and the best driver they have ever faced; Dom’s missing brother, Jakob.
THE THINGS WE SAY, THE THINGS WE DO. Emmanuel Mouret.
Daphné, three months pregnant and on vacation in the country, welcomes Maxime, her partner’s cousin, as a guest because her boyfriend had to return to Paris to cover for a hospitalized colleague. For four days, while waiting for his return, Daphné and Maxime tell each other about their sentimental experiences.
MANDÍBULAS. Quentin Dupieux.
Two friends meet a giant fly and want to train it to steal, but a girl who can only communicate by screaming is ready to blow up an affair.
A BLUES FOR TEHRAN. Javier Tolentino.
A Kurdish musician with a vocation for a filmmaker and a tendency to alopecia, Erfan Shafei, and different groups and voices reveal a complex reality between melodies and verses. Everyone makes their own definition of what music is.
DEAD MAN DOES NOT KNOW HOW TO LIVE. Ezekiel Montes.
Tano has always worked for Manuel, a construction entrepreneur who controlled the entire city. Already in old age, Manuel cannot run the company, and the entire structure faces a generational change.
THE TRAVELER. Miguel Mejías.
A woman faced with the death of her mother travels in her car towards “north”, without that direction appearing to respond to a geographical destination but to a mental state. In her solitude, the traveling saleswoman in the title clings to a single object, an 8 mm camera with which she records insects and with which she herself was filmed as a child by her mother.