Güeros

The A.V. Club by

Even if Güeros doesn’t entirely work, it feels worthy: a film made independently and without interference whose reverence for the past thankfully doesn’t result in too much solemnity or seriousness.

The New York Times by A.O. Scott

The story pops and swerves; the images are by turns comical, banal and ravishing; and the result is a briskly shaken cocktail made of equal parts provocation and comfort. You come away with a buzz that is invigorating and pleasantly familiar.

Village Voice by Alan Scherstuhl

What makes Güeros fascinating, besides the joyous invention of Ruizpalacios's craft, is how the director emphasizes rather than hides his own authorial engagement.

Salon by Andrew O'Hehir

It’s a gorgeous sound-and-vision journey through a mystical or mythical space that has echoes of the 1960s Paris of Godard and Truffaut and the 1980s New York of Jim Jarmusch.

The Hollywood Reporter by Boyd van Hoeij

This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.

Slant Magazine by Elise Nakhnikian

A good story, full of life and related with intelligence and a sense of humor.

New York Post by Farran Smith Nehme

Agreeable this film certainly is, but the shagginess never seems to take shape.

The Dissolve by Noel Murray

Güeros is a vivid illustration of factionalism’s brute outcome, which has people choosing up sides and tossing bombs at people, while dismissing their victims’ complicated lives and problems.