Movies that can be seen on November 28

On November 28, a billboard marked by commitment and memory arrives in theaters, with the shocking war docudrama Hind's voicethe social portrait of City without sleepthe intimate journey of Flowers for AntonioBritish realism Urchin and the replacement of Crimson Gold) de Jafar Panahi.

Hind's voice (Kouther Ben Hania, 2025)

It is said, exaggeratedly, that cinema (or books, art, music…) make us better, more cultured, more free. But, sometimes, there is no hyperbole, as in “The Voice of Hind”, which will make us more sensitive, supportive and knowledgeable about the tragedy of Gaza, and will allow more accurate reflections on that genocide and the impossible task of the Red Cross / Red Crescent and volunteers or journalists threatened for telling what they see. With only four characters shown and the protagonist heard on the phone, the attempt to save Hind, a 6-year-old girl locked in a car with dead relatives and surrounded by soldiers shooting, is reconstructed. Really good cinema, very hard, of course; with a short story—it is a story in real time—that functions as a synecdoche of that genocide. But very necessary because it helps sensitize us and humanize us.

City without sleep (Guillermo Galoe, 2025)

There is a sensitive portrait of a gypsy family from Cañada Real, where the largest drug market in the country is located, with their disagreements about relocating to an apartment or remaining in that neighborhood without electricity or water with their animals and their fields. The teenager Toni has a divided soul and tries to get his dog back, even more so when his Moroccan friend has left. Without miserabilism or bait, with a minimal plot and with characters played by non-actors who live in La Cañada, it is a very thoughtful and well-resolved film that will help the viewer appreciate other worlds that are in this one. Convincing.

Flowers for Antonio (Elena Molina and Isita, 2025)

The (excellent) actress Alba Flores directs this documentary dedicated to her father, Lola Flores' rocker son. He asks his mother, his aunts and musicians who collaborated with him, and reveals the restlessness of someone who, at the age of 8, lost his father in a traumatic death. Very complete as a document, without sparing data on the singer's addictions, it will satisfy the musician's followers and the public interested in the family and in the figure of the “broken toy” that Antonio was. Beyond that, the universal question of the question of origins and the need for a convincing story.

Urchin (Harris Dickinson, 2025)

There is probably nothing new in this film's portrayal of a “homeless” young man, doomed to crime, cannon fodder, incapable of taking advantage of opportunities for rehabilitation and social integration, but what is said and what is left unsaid (his family past, his sick condition) has power. Very much heir to British social realism, it is a work without traps or thesis that allows the viewer, beyond the plot twists, to ask questions.

Crimson Gold (crimson gold) (Jafar Panahi, 2003).

This minor work by the always successful Panahi, a resister of the Iranian theocratic regime who, in addition to being in prison, has been prohibited from filming on numerous occasions, is being revived in theaters. In this piece he stages the wanderings of two losers to whom chance offers the temptation of easy money. With notable clumsiness, they try to scam a jewelry store and end up in a bourgeois house, sharing the pizzas that the customer has not ordered. The whimsical plot serves to capture the dreams that the poorest and most ignorant live, and the classist world where the Iran of the ayatollahs is also located. Panahi's look is stimulating, but the result is nothing more than discreet.

Zafari (Mariana Rondón, 2024)

The residents of a housing block next to the zoo have increasingly worse living conditions, with power and water outages, and a shortage of food that leads them to go hungry; Some leave the country and the protagonist family plans it. A hippopotamus arrives at the zoo, baptized “Zafari”, which acquires the value of a metaphor in the story, since its totemic presence—more due to its roar than its sight—is an attraction for the population. With an air of dystopia but in a present that may well be the current one, the screenwriters offer an apocalyptic vision of their country and the Bolivarian regime, although it is not explicit where the story takes place. It looks good, but it lacks rhythm and any surprises.

Billboard for November 28, 2025