Alps

Stefan Dobroiu de Cineuropa

Yorgos Lanthimos postula su candidatura al palmarés final con Alps. (...) Los diálogos absurdos recuerdan a Canino, mientras que la rigidez del líder del grupo no está muy lejos del totalitarismo familiar del segundo largo de Lanthimos. A pesar de que la similitud entre ambas películas es un poco decepcionante, Alps logra tratar temas como la identidad, la pérdida, el control y la alienación.

Oliver Lyttletton de The Playlist

Another unique & remarkable film from director Yorgos Lanthimos. (...) Lanthimos continues to prove himself a supremely controlled, disciplined filmmaker: his use of focus alone could form the basis of a film school class, and it’s always interesting to note what he doesn’t show, frequently cutting off or obscuring faces and relying on body language. “Alps” has proven Lanthimos to be one of the most fascinating filmmakers anywhere right now, and, while there’s no immediate news on when it’ll hit on the U.S., or anywhere outside Greece, we’re confident it’ll be one of the most talked-about films of the next year: with so much to talk about, how could it not be?

Guy Lodge de Incontention

“Alps” is a slightly warmer film than its predecessor, but in its cockeyed, proudly foot-in-mouth way. (...) “Alps” elegantly provides a mirror hypothesis of people attempting to stall time and mortality after the fact of tragedy, like so much toothpaste scraped messily back into the tube; as studies in aggressive human denial, they make for a punishingly brilliant twin-set, with no pearls in sight.

Luis Martínez de El Mundo

(...) Como hiciera en su anterior película se trata de sacar de su sitio los rituales que conforman eso llamado vida para, ¡sorpresa!, hacer patente el desastre en el que estamos metidos. (...) Le falta el pulso y brillantez de 'Canino' (demasiado presente en cada plano), pero desconcierta, que es de lo que se trata.

Carlos Boyero de El País

Transcurre una hora sin que tengas la menor idea de lo que pretende contarte, ataviada con el tono plúmbeo de cierto cine de autor. Si tu paciencia aguanta hasta ese momento, descubres que esos personajes que dicen y hacen cosas muy raras.(...) El tema tal vez sea original, pero el desarrollo de esa idea es tan confuso como aburrido.

Deborah Young de Hollywood Reporter

Caustic, well-done Greek cinema of the absurd is strictly for modernist fans.(...) Alps, Yorgos Lanthimos’s caustic fourth feature, is as bizarre and elliptical as Dogtooth and Kinetta, and like its offbeat predecessors has an inexplicable power to draw the viewer into its hermetic web of inhuman relationships.

Boyd Van Hoeij de Variety

A hospital nurse who's part of a mysterious Greek quartet offering specialized services for the bereaved goes rogue in "Alps," scribe-helmer Yorgos Lanthimos' anticipated follow-up to his much-laureled "Dogtooth." Conceived along the same lines as that film, as well as those of producer Athina Rachel Tsangari's "Attenberg," Lanthimos' latest offers another heady mix of peculiar occurrences, anthropological and Freudian insights into the human species and contempo society, and a particularly wicked sense of humor. Result feels less innovative than its predecessors, though this formally rigorous pic should nonetheless see substantial fest play and niche theatrical action.

Xan Brooks de The Guardian

Greek director Yorgos Lanthimos goes off piste, plunging us into a landscape that is not steep and snowy but flat and black in this spendidly icy picture. (...) The human race, Alps argues, is predominantly made up of bad actors, searching desperately for a part to play, a space to fill, a hole to slot into. Small wonder Nurse wants to mimic the dead. The role has already been road-tested and the grave is the most natural, neatest-fitting hole of all.

Lee Marshall de Screen

Alps denies us such traditional cinematic handholds as rounded characters with backstories; a plot with an identifiable moral arc; neatly tied narrative ends; an easy-to-read ‘message’. Yet the film only very occasionally feels like a piece of self-indulgent arthouse mystification: most of the time, this story of a team of melancholy, oddball characters who help (or profit from) the bereaved by standing in for departed loved ones holds us emotionally and intellectually - and ends by saying something profound about a world in which ‘reality’ is just another TV format.