Los Angeles Times by Carlos Aguilar

Concise, yet affecting, Chile ‘76 assuredly occupies the post as one of the finest Latin American productions to open stateside this year.

The New York Times by Teo Bugbee

Chile ’76 is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.

Variety by Manuel Betancourt

What begins as a muted marital melodrama slowly boils into a restrained political thriller, with an ease and skill all the more impressive in a first feature.

Austin Chronicle by Josh Kupecki

What Martelli and her co-conspirators have created with the radicalization of Carmen in Chile ‘76 – and what, incidentally, eludes so many contemporary horror films – is the palpable sense of dread.

Screen Daily by Allan Hunter

The blend of character study, Hitchcockian intrigue and an excellent central performance from Aline Kuppenheim makes for a tensely involving tale.

The Observer (UK) by Wendy Ide

Küppenheim is terrific, her precision and restraint in the role drawing us into the story.

The Guardian by Peter Bradshaw

1976 is made with thrilling assurance, and the tension and Carmen’s spiritual crisis are superbly conveyed, with a nerve-jangling score by María Portugal. It’s a great example of Chilean antifascist noir.

CineVue by Christopher Machell

As historical noir, Martelli’s film is thrilling, but as a document of the comforts of complicity and the terror of resistance, 1976 is visceral.

Little White Lies by Marina Ashioti

As well as boasting an all-female crew, Martelli’s film exquisitely evokes Carmen’s muted revolutionary spirit, making for an invaluable demonstration of feminine revolutionary cinema.