El Planeta

Amalia Ulman's aesthetic (both in terms of fashion and filmmaking) is enough to make this an intriguing first feature.

"El Planeta" has much humor, but the laughter tends to lurk around the edges. The movie also has a fair amount of pathos.

El Planeta orbits around an aesthetic and sensibility rooted in Eighties indie films. But mother and daughter have a comfortable chemistry that surpasses the deadpan material.

The film is neither cynical nor sentimental, evincing a distinct, often humorous voice. Also noteworthy are the film's fashions-one admires the avant-garde wares while considering the implications of the characters' preoccupation with outward appearance.

We are only lucky to be invited to visit this two-people planet for a short while.

A mother-daughter bond shines through stark black-and-white cinematography and surreal humor in El Planeta.

Beyond the very lived-in central relationship, Planeta’s very funny both in dialogue and rhythms.

Reminiscent of Jim Jarmusch and Noah Baumbach's cinema... Ulmann builds two worlds, one real and one isn't, and employs experimentation, modernity, and a certain cinematic disobedience that we haven't seen in a long time. [Full review in Spanish]

El Planeta is an accumulation of daily vignettes about a dysfunctional mother-daughter relationship, with eccentric characters, but through a loving gaze and a certain empathy behind the pathos. [Full review in Spanish]

Amalia Ulman has an almost expressionless quality that is fully reflected in the deadpan brilliance of her debut feature, El Planeta.