Movies that can be seen on October 30

October 30, 2026 brings a varied billboard, with the retromedieval fable Wicker by Alex Huston Fischer and Eleanor Wilson, the Korean action thriller Hope Na Hong-jin and superhero horror Clayface the James Watkins. And streaming we recommend The ghost network de Jonathan Millet en Filmin, el thriller The believers by Roger Gual on Netflix and heist movies Masterplan by Thomas Vincent on Amazon Prime.

Wicker (Alex Huston Fischer & Eleanor Wilson, 2026)

I find this fable with a comedy feel set in a diffuse, retro-medieval past quite enjoyable. A woman who lives off fishing, rejected by everyone for her fishy smell, asks the village basket maker for a husband; and the basket maker—a guy with divine powers but excluded as a dwarf and gay—provides her with a handsome, loving, and hot wicker husband who is the envy of everyone. There is an egalitarian discourse that advocates sexual pleasure for women and men and for relationships based on love and not domination. A certain nature of a minor, episodic work makes one value it more; Only the original argument already wins us.

Hope (Na Hong-jin, 2026)

I can't understand how a piece intended to stimulate adrenaline in teenagers was part of the official section of the last Cannes Festival. Endless 160 minutes of pure and simple action, with chases, lots of shooting, extreme violence and bloody monsters that threaten a city called Esperanza (in English, even though it is in South Korea). The veneer on the aliens is minimal, although we discover that a monster also has a maternal instinct…; and it dispenses with making humans dramatic characters with the minimum entity. As flat and long as it is dispensable.

Clayface (James Watkins, 2026)

The “Mud Face” of the title is none other than one of Batman's enemies in the DC Comics series. Here the character develops as Matt Hagen, a Hollywood actor whose face is disfigured by a gangster and jilted boyfriend. But a doctor gives her an experimental treatment with stem cells that regenerate her pretty face, and she manages to return to the sets. And also to plan a full-fledged revenge… It's not that one is very into comics and even less into superheroes or supervillains, but I have been interested in the topic of the shattered personality, its reconstruction and new opportunities. Warner has not promoted this installment much, which is actually minor. But it has its interest for fans.

The ghost network (Jonathan Millet, 2024) (Movie)

Story based on real events about a Syrian professor who has to go into exile and, from Strasbourg, is part of a European network that seeks collaborationists with the Syrian dictatorship of Bashar Al-Asad and people he tortured. He's not quite sure he's found one; He has a photo but hesitates and in the meantime he keeps in touch with his mother who is in a refugee camp near Beirut. It is a story of exile, pain, desire for justice, of disoriented people who have lost their roots and suffer helplessness in the face of torture or open wounds. It is not an exceptional film but it has its interest and emotion because it is told from the point of view of that teacher.

The believers (Roger Gual, 2026) (Netflix)

A conspiracy-minded husband, obsessed with contamination from a nearby pharmaceutical industry, becomes a suspect in his wife's death in the eyes of his daughter, who has returned from London with the guilty conscience of not having cared for her mother. The basic mechanics of intrigue are reinforced by good actors and locations, but it doesn't deliver much and I was barely able to finish what, in the end, is nothing more than a Netflix product that can be consumed at any latitude and altitude in the world.

Masterplan (Thomas Vincent, 2026) (Amazon Prime)

Let's give a “praise to mediocrity”, as this story of a theft of none other than the Mona Lisa, honorary guest of the Louvre museum, deserves it. Heist film fans see with this proposal that the cycle has reached its baroque stage, after the classic one of the 50s-60s; Indeed, from the psychological tension and intrigue of the best titles of that time we have moved on to technological exhibition not exempt from irony and disbelief in a story with arbitrariness. But we praise this mediocrity because, in the end, it is entertaining and one enjoys its clichés and coincidences.

Premieres October 30, 2026