Movies that can be seen on June 19

On June 19, 2026, cinemas offer a varied selection with drama, comedy, social cinema and proposals for all tastes: a look at the social networks of to the face; the most emotional and fabulous Spielberg in The day of revelation recover; the denunciation of police brutality Case 137; the mixture of passion and social allegory of Dreams; the portrait of a personal change in a real man ; the humor and commitment of Julie Delpy in Meet the barbarians; and sentimental comedy 15 proofs of love.

to the face (Javier Marco, 2025)

This excellent film that can go unnoticed deserved better release conditions. First film by a director and a co-writer who take advantage of those solid actors who are Manolo Solo and Sonia Almarcha, until now practically relegated to supporting roles. A lonely guy who vomits his frustrations online and harasses a television presenter gives rise to a surprising story where the victim is rescued by his executioner and where he survives his loneliness thanks to that unexpected relationship. I especially like those contradictions, especially when the result is that one loses a daughter and another gains her. Powerful background of criticism of the use of social networks, sensational journalism, the moral debate of disconnecting a body in a coma… In short, an excellent film.

The day of revelation (Steven Spielberg, 2026)

Spielberg returns to his old themes of the afterlife (material and spiritual) and the figure of the “good” extraterrestrial with whom humans touched by divine grace manage to communicate. It seems to subscribe to conspiracy theories with those governments that hide secrets from us about life in space, but I was interested in how the protagonists defeat the enemy, with emotional appeals. Of course, Spielberg is a great narrator who takes you by the hand for more than two hours without you knowing it, even when the film doesn't add much more to what was said in Encounters in the third phase, ET The Extraterrestrial y AI Artificial Intelligence. And, of course, it is a film to watch with childlike innocence, letting yourself go and ignoring the speech, which is ultimately somewhat flat. Enjoy!

Case 137 (Dóminik Moll, 2025)

In her role as an investigator of police “internal affairs,” Léa Ducker strongly supports this story aimed at denouncing police brutality and the criminalization of citizen protests. With the real argument that the police have to put up with a lot, enjoy bad press and have to abide by the law while enduring scorn and even violence from asocial types, the case in which a young man was injured by a gunshot to the head is justified. The social context of the same town where the parents of the police and the victim live adds complexity to an investigation that never manages to achieve justice, which ultimately explains people's distrust. Good cinema, with rhythm, without filler digressions, with very convincing dialogues and characters.

Dreams (Michel Franco, 2025)

The emotional-sexual passion unleashed between a rich Californian heiress and a young Mexican dancer is the basis of a story of complicated relationships. The film has a more immediate reading in showing the stones on the path of that passion and its cruel unpleasantness. But it has another reading, more allegorical, that raises the relationship between the powerful and arrogant Americans, whose whim becomes the norm, and the poor Mexican immigrants who fight to survive. A curious film by the Mexican Michel Franco, of whom I liked “New Order.” Jessica Chastain very convincing in a tough role.

a real man (Liteo Pedregal, 2026)

In his first feature film, this director and also co-writer of a story with an educational desire falls a little short by showing the transformation experienced by a retired doctor, generous and good person, although a macho prototype of traditional masculinity, following the death of his wife. The help of a neighbor, a sporadic relationship with another woman and reconciliation with his daughter achieve what seemed impossible. The dramatization lacks strength and there are very basic dialogues, in addition to a narrative development of little surprise; Yes, jazz music is very attractive.

Meet the barbarians (Julie Delpy, 2025)

The charming protagonist of Richard Linklater's romantic trilogy (“Before Sunrise”, “Before Sunset”…) is also the director of half a dozen feature films in which she also acts. Here he puts the meat on the grill for a comedy with a compromised background: he advocates that we Europeans get involved with Syrian refugees and denounces the nationalist stupidities and xenophobic prejudices of small communities, in this case, a town in Brittany. There are interesting notes (the populist mayor who cheats with the alleged Ukrainians who later turn out to be Syrians) and a climatic sequence full of emotion: never has a birth on a beach managed to create so much community. I liked it, although I recognize that it is a minor film that we saved because of its good intentions.

15 proofs of love (Alice Douard, 2025)

It seems that the director has gone through this story that she tells from her emotion. A couple of women must get married when they are expecting a baby so that the non-biological mother can adopt the girl. It also needs 15 testimonies that support the affected relationship with the newborn. It seemed uneven to me, at times known, with obvious jokes (a baby's poop in the bathtub), some really comedic moments and an unfortunate final stretch, with the concert sequence artificially erected into a climax while the dramatic tension in the birth, which was its natural high point, is reduced.