Movies that can be seen on July 24

On July 24, 2026, a varied billboard arrives with five proposals ranging from Christopher Nolan's Homeric epic to the most experimental auteur cinema. The Odyssey starring Matt Damon, the silent Motor City de Potsy Ponciroli, la cruda The last journey de Brandt Andersen, la Argentina The message by Iván Fund and the dispensable the american dream by Anthony Marciano complete the premieres that can be seen this week.

The Odyssey (Christopher Nolan, 2026)

Knowing that Hollywood despises narrative subtleties, allegories and metaphors about the human condition—it is interested in pure and simple mass spectacle—and taking into account that the Homeric epic cannot be filmed (or any visualization makes the poetics of the story in words pale), I think this version is stimulating. The more you know the literary work, the more objections you can make, but apart from a strident soundtrack and plenty of violence in the final stretch (battles of Troy and Ithaca), I enjoyed the adventures of Odysseus / Matt Damon, its stimulating costume design and several sequences that pointed to the meaning of the story (relationship with Calypso, song of the sirens, Circe's magic, the pain of not burying one's friends…).

Motor City (Potsy Ponciroli, 2025)

Very stimulating film without dialogue – but with a powerful soundtrack – with a story of gangsters, revenge and brutal reckoning. The renunciation of words takes us to the realm of comics, since we see the sequences as vignettes and, without a doubt, the characters have the usual schematism of graphic comics. I liked it more as an exercise in novel style than for the story, which is somewhat well-known, and for the violence, sometimes humorous and hyperbolic, like in the elevator episode. For viewers eager to see another type of cinema.

The Last Voyage (I Was a Stranger) (Brandt Andersen, 2024)

Through several characters from Syria who meet on a rubber boat that crosses the Aegean Sea to reach the Greek coast, the flight of refugees and their difficult survival both in their country at war and along the way are chronicled. The structure of convergent stories allows for a more complete and plural story, which includes the commitment of a member of the coast guard with the victims thrown into the sea in deplorable conditions. The film has limited dramatic power, but it is moving because of the reality exposed.

The message (Iván Fund, 2025)

A dozen nominations and no awards in different competitions reveal the status of “festival film” of this Argentine production that is based on a single idea. A couple of grandparents travel in a caravan with their granddaughter through desolate places and, through their cell phone, they sell the powers of their nine-year-old granddaughter, capable of acting as a medium with dead pets. This is the starting point—and, alas, arrival—of a story that never advances, even though the characters are constantly physically moving. For subtle film buffs capable of seeing the afterlife of the deceased dog…

the american dream (Anthony Marciano, 2026)

I barely lasted half an hour of this filmed story to like it, but to me it seemed as “good-natured” as it was expendable. The topic of the fight to achieve dreams is widely seen, but when it comes to representatives of basketball players… well, it is of little interest.

Premieres July 24, 2026