Undergods

The subtext may not be subtle, but what Moya's film lacks in nuance it makes up for in terms of ambition.

You have to work your way through it, but if you allow it to overwhelm you, it's really quite striking.

A riptide of surrealism runs through Chino Moya's ambitious debut feature, a fantasy suite of tales that don't so much interlock as butt into one another and blurt out alarming, dreamlike correspondences.

Coming at the same themes from different angles, the three lessons serve to upend the comfort and perceived control that fathers, husbands and first-world patriarchs have traditionally enjoyed.

Look past the uneven narrative and you'll find a new cinematic voice with something to prove, and the formal prowess to back it up.

In this head-turner of a debut, Chino Moya plunges us into dystopia's darkest underbelly for a collection of terror tales that are often tied to the seven deadly sins.

A fable about the ruins of the old myth of Europe with a powerful images and sounds. [Full review in Spanish]

A fitting metaphor for the creeping sense of unease and disconnection that seems to be prevalent throughout much of the modern world.

Although at the start Undergods looked like yet another dystopian picture, it was presented in such an interesting style and with strangely engaging characters that it wasn't "yet another" anything.

Recalls Monty Python or even the films of Roy Andersson...If it all winds up feeling a bit pat, a little too satisfied with itself, it's still a wild journey.