Movies that can be seen on November 7

This November 7, the billboard offers a heterogeneous selection of films that explore various genres and sensibilities. In It's always winterDavid Trueba delves into loneliness and contemporary relationships from a personal and disillusioned perspective. Fernando Franco presents in Subsoil a disturbing reflection on family ties and the dark drive of the human being, while Bugoniadirected by Yorgos Lanthimos, proposes a satire on paranoia in the face of scientific advance with its characteristic coldness. Guillermo del Toro reinterprets the myth of Frankenstein with a dazzling moral and aesthetic vision, and Kathryn Bigelow shakes the adrenaline in A house full of dynamiteportraying the limits of politics and military thriller. Finally, two outlaws (Rust) by Joel Souza revives the western genre with familiar overtones and an atmosphere of raw survival that vindicates tradition and adventure.

It's always winter (David Trueba, 2025)

Based on his novel “Blitz”, it is the story of a young architect, quite frustrated in his profession, who finds himself abandoned by his partner and begins a desperate relationship with a woman who is more than twenty years older than him. The viewer is very aware of what Trueba means about loneliness and emotional-sexual relationships, not always presided over by commitment or the will for the future, sometimes a mere refuge from loneliness. But that viewer is half in tune with the characters – unlike the novel, narrated in the first person by the protagonist – and their future seems quite random, especially in the ending with a willful closure. Unevenly, I think its assessment will depend on the harmony of each viewer with the film.

Subsoil (Fernando Franco, 2025)

I have liked the previous films of this sensitive and careful director more (“Wounded”, “Dying”, “The Rite of Spring”) but this is no reason to discard this investigation into the ambiguous relationship of two twins (girl and boy) and the drive of domination and sadism that can nest in the human “underground”. The director prevents his work from slipping into genre cinema and achieves notable credibility for his story. The young actors don't seem brilliant to me and I think that the film lacks synthesis and greater dramatic will – it remains excessively “expository” -, however it is not to be ignored and I am happy about its award at the Valladolid Seminci a few days ago.

Bugonia (Yorgos Lanthimos, 2025)

The Greek filmmaker is considered one of the cult directors of European cinema: his coldness and pessimism about humans make it difficult to tune in to his stories. This is what happens to me with this fable of criticism towards conspiracy theorists and enlightened people who are suspicious of any scientific or technical novelty. The actors are good and some touches of humor are appreciated, but I was not interested in the story nor did it seem novel as a fable, much less with the twist at the end.

Frankenstein (Guillermo del Toro, 2025) (theaters and Netflix)

Guillermo del Toro feeds on fantastic literature to which his cinema provides two notable contributions: images and sounds that recreate and enrich the fabled worlds and creative and personal updates of centuries-old myths and stories. This version of Mary Shelley's novel is very attractive, fascinating for those spaces with art-deco vaults and for the creature as athletic as it is fragile; but it goes beyond the British writer to arbitrate two narrators who give their points of view, Frankenstein and his humanoid, which allows us to delve into the morality of the “modern Prometheus” and the goodness of the creature despite the condemnation to an eternity in solitude. Very enjoyable. (Attached article about this myth).

A house full of dynamite (Kathryn Bigelow, 2025) (salas y Netflix)

Bigelow specializes in action films and is very convincing, as evidenced by “The Darkest Night”, about the capture and murder of Bin Laden. Now it narrates from various points of view the last twenty minutes of a missile sent from the Pacific that will explode in Chicago: it is about showing the functioning of the defense, the military organization and the decisions of the rulers. The plot does not resolve the plot and leaves an open ending to a second part. Cinema for spectators eager for adrenaline that, in the end, convinces very little.

two outlaws (Rust) (Joel Souza, 2025)

Every year there comes at least one piece that can be classified in the dying (?) genre of the “western”, a format with an enormous tradition in cinema that has contributed to the epic of the origins of the North American nation north of the Rio Grande. This one that comes to us begins with strength and emotion when a 13-year-old boy has to take care of his little brother after the murder of his father; and he does it with energy, but survival leads him to violence and the clutches of the law. From there, a tired, disjointed itinerary of escape and pursuit that takes two and a bit hours, and which I abandon without finishing.