Movies that can be seen on October 16

On October 16, 2026, an especially diverse billboard hits theaters and platforms: the documentary Amby Yuval Abraham and Rachel Szor; the technological thriller The price of the networkby Aaron Sorkin; the social drama The bad sondebut feature by Jaime Lorente; the dramatic comedy The invitationby Olivia Wilde; the melodrama Touchby Baltasar Kormákur, available on Movistar+; and The captureby Chava Cartas, on Netflix.

Am (Yuval Abraham and Rachel Szor, 2026)

Several international awards endorse a documentary that has led to death threats for its director and director, two Israelis accused by their own government of being anti-Semitic. The title refers to the civilian victims (elderly, children and non-combatants in general) of the Israeli bombings; The acronym “naza” functions as a euphemism that objectifies people and considers their murders as routine “collateral damage.” As with “The Voice of Hind”, released almost a year ago, images cannot be recorded in Gaza and the words are the protagonists of a full-fledged complaint: here it is the testimonies of soldiers assigned to the intelligence service who identify the telephone numbers of Hamas militants and order the destruction of their homes, knowing that there are innocent people. Furthermore, this identification is uncertain, since it is based on an algorithm that reaches that conclusion after analyzing the phone calls. There is not much new about the genocide and the criminal policy of wiping out the population of Gaza to appropriate the territory, but said in the first person they acquire a much stronger emotional and moral truth than the newspaper headlines.

The price of the network (Aaron Sorkin, 2026)

I appreciate the screenwriter Sorkin more than the director; Of course, his creations of “The West Wing of the White House” or “Newsroom” are far above this premiere, which is a continuation of “The Social Network,” which I liked more. The denunciation of the techno-oligarchs and the arrogance with which they shamelessly cash in on the social consequences of their voracious networks, which can encourage the suicide of adolescents or their recruitment by violent fanatics, is very pertinent. Jeremy Allen White (“Shameless”) is very good, but the movie seemed familiar to me.

The bad son (Jaime Lorente, 2025)

The debut director has worked hard to put together this harsh film, not at all pleasing to the public, hard to watch and even too realistic (“reality should be forbidden” said a character in “The Flower of My Secret”). A child, Rubén, abandoned by his parents who leave him in the hands of his grandmother and who grows up with the “fatum” of crime and marginality as if it were in his genes: a world of poverty, loneliness, emigrants exploited in greenhouses and literally thrown away if they get sick, of dog fights… Rubén is cannon fodder, the camera follows him and confirms that destiny. The film is uneven – Susi Sánchez is excellent as the grandmother – but the main obstacle is the lack of emotional connection with the characters and the feeling that, in the end, it does not tell us anything new. Although it is well made.

The invitation (Olivia Wilde, 2026)

It is exceptional that the play – and also film – by Cesc Gay entitled “Sentimental” serves for a new North American version. It didn't seem like a great work to me and in this film it is once again evident that it will work better in live theater; The unity of action, space and time is maintained, as classical poetics dictates, but the theme of sincerity in relationships and in sexual fantasies gives its fair share. You can see it, without too many expectations (Penelope Cruz with her blond hair like a Spaniard responds to what they ask of her).

Touch (Baltasar Kormákur, 2024) (Movistar+)

It doesn't matter that the pandemic threatens a generalized confinement that leaves him outside the home, it doesn't matter if the MRI he has had detects a serious illness, he doesn't pay attention to his desperate daughter due to her sudden disappearance, nor does he care about the thousands of kilometers he has to travel to achieve his goal, nor the police investigation with improbable results or the distance of the fifty years that have passed to find Miko. Kristofer overcomes everything and, as an old man, life rewards him with long-delayed love. From cold Iceland comes this warm melodrama that looks great. Enjoy it.

The capture (Chava Cartas, 2026) (Netflix)

Although the narrative development is limited—it practically focuses on a few hours—the story of the capture of the famous drug trafficker Chapo Guzmán, who had escaped from prison and bribed police and politicians, has strength and rhythm. Two federal officers stop him by chance and have to resist bribery and serious blackmail: this is where much of the interest of the story lies, in showing the strength of organized crime and the fear it arouses among normal people. A small film that looks very good.

Premieres October 16, 2026