The Playlist by Bradley Warren

Cocote is an entirely different beast—a challenging watch that swings from the avant-garde to an ethnographic model of filmmaking.

The Observer (UK) by Simran Hans

Dominican Republic film-maker Nelson Carlo de Los Santos Arias’s gorgeous, restlessly creative hybrid fiction combines ethnographic documentary with improvised drama to explore a clash of two religious identities.

Film Journal International by Budd Wilkins

Cocote’s narrative structure exhibits a tidy symmetry, strongly suggesting that what ultimately transpires has a certain inevitability to it, that cycles of retribution and vendetta all too easily devolve into vicious circles.

The Guardian by Peter Bradshaw

It is a film with its own miasma of unease.

RogerEbert.com by Sheila O'Malley

Cocote, filmed entirely in the Dominican Republic, is filled with such images, seemingly unconnected to one another at times and yet when placed in collage they create a powerful and visceral experience.

Slant Magazine by Keith Watson

Nelson Carlo de Los Santos's first fiction feature is a dazzling collage of styles and approaches in which every scene feels different from the one that came before.

Village Voice by Matt Prigge

Getting one’s bearings isn’t impossible; it’s like divining the trick of a Sunday crossword. But Cocote isn’t purely academic. It’s alternately clinical and sensual.

The New York Times by Glenn Kenny

This is a straightforward story that Mr. de Los Santos Arias, making his fictional feature debut, tells in an ever-changing style, shooting in color and black and white. He also alternates the shape of the frame, mostly toggling between a boxy frame and the wider one most mainstream movies are shown in. Whatever effect was hoped for, this viewer just saw affectation.

The Hollywood Reporter by Frank Scheck

Cocote tells a relatively simple story in willfully obscure, opaque fashion. While the film features many intriguing elements and often proves visually stunning, it ultimately feels a trial to endure.