Y mañana el mundo entero

"Von Heinz adopts the go-to means of faux-realistic style, a restive, close-quarters invasiveness often culminates with a close-up on Emde's inscrutable mien, but what makes her tick, the essential question in every viewer's mind, proves to be elusive. Von Heinz attempts to let the actions speak for themselves, but what she presents is a laborious imbroglio consisting of a series of loud confrontations. Since it is told exclusively from Luisa's perspective, scarce information can be gleaned about the Antifa organization and their internal rift, feminism, immigrants and queer identity are only tokenized, while the plot plods through Luisa's correlations with two fellow members Alfa (Saavedra) and Lenor (Schneider). She is sexually attracted by the golden boy Alfa, which may explain why she falls in line with his reckless bravado, but what is the rationale behind Luisa's aggressive radicalism? Her well-to-do family background is alluded to, yet, nothing satisfactory is elucidated by von Heinz, maybe it is just a young girl's impressionable phase of growing pains, but that is a craven nihilistic evasion."

read my full review on my blog: Cinema Omnivore, thanks.