A beautifully crafted love story, End of the Century has two understated, thoughtful performances at its heart. It explores its existential themes – of the passing of time and of roads not taken – with delicacy and deftness. It’s a road worth travelling.
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End of the Century is a sublimely haunting experience that will make you sigh in recognition of the what-ifs in your own life.
It’s a lovely film that’s poetic, erotic and bittersweet.
Castro’s feature-length directorial debut is a profound and casually artful expression of the lengths to which people go in order to not have to embody their desires.
It’s a stirring and delicately reflective piece of work.
The measured ordinariness of its first section has been a sly setup for a poetic film that handles narrative as a kind of scarf dance.
End of the Century is a love story drenched in a nostalgic magical realism that constantly shifts its own logic, as if recognizing the futility of containing its uncontainable romance.
Like a great poem, End of the Century gives voice to a seemingly indescribable feeling, one anyone who’s ever fallen in love will recognize from deep in their soul — as if bumping into an old friend you forgot how much you liked.
End of the Century is at its best whenever Castro keeps things thematically and temperamentally woozy.
It balances what is with what might have been and what could still be, and, although the result is maybe a bit less substantial than Castro intended, there is a certain literary elegance in the way he sketches it out.