APC Studios’boutique distributor About Premium Content (APC) has signed a number of key international broadcast deals ahead of this year’s Unifrance Rendez-Vous in Le Havre on French-language scripted and unscripted series “Blue Gold,” “Seasons” and “An Artful Imbrolio.”
The eight-part crime drama and family saga “Blue Gold” has been licensed to Walter Presents for the U.K. and Ireland, RTP in Portugal and Blue Play in Switzerland, joining U.S. streamer MHz Choice.
Produced by Authentic Prod (“Sam,” “Montmartre”) for France Télévisions the series is written by Marie-Anne Le Pezennec (“Dolmen”) and Ludovix Lacroix and directed by Hippolyte Dard.
Barbara Probst stars in ‘Blue Gold’
Courtesy of About Premium Content
Set in the 1980s in Provence, “Blue Gold” chronicles the saga of three women from three generations, Marie, Alice and Flore, and one decades-old buried secret. When a body is found and murders start piling up, Flore will have to solve the family puzzle by revealing the truth. Barbara Probst, Sylvie Granotier and Déborah Krey star.
The four-part “Seasons,” a French-language drama series produced by Windy Production for Arte, has been picked up by RTP in Portugal and RTBF Auvio for French-speaking Belgium. It previously sold to Radio Canada’s Ici Tou.TV Extra for French-speaking Canada.
‘Seasons’
Courtesy of About Premium Content
Beginning in August 1991 at the seaside resort of Les-Sables-d’Olonne, it follows Camille, 15, as she first meets the two best friends Martin and Alexandre on the beach and crashes into their lives like a comet. Perpetually torn between the two men, Camille will live a crazy love story with them over more than 30 years.
Nicolas Maury (“Call My Agent”) directed, co-wrote and stars in the show, co-written by Hélène Duchateau (“The Forest,” “Unfaithful,” “The Eclipse”). The series’ stellar cast includes Stéphane Caillard (“Flo,” “Marseille”), Lucas Bravo (“Emily in Paris,” “Ticket to Paradise”), Abraham Wapler (“Andor,” “Colours of Time”), Géraldine Pailhas, Martine Chevallie and Marysole Fertard.
APC Stories’ three-part art investigation documentary “An Artful Imbroglio” went to Filmin in Spain and RTP in Portugal. Produced for Arte, the unscripted series, which is set in Paris, Rome, London and New York, sheds light on one of the art world’s greatest mysteries.
In the spring of 2014, a mysterious, anonymous letter triggered one of the biggest scandals in the art world: the alleged trafficking of fake old master paintings on an unprecedented scale. At the heart of this imbroglio unfolds a gallery of colorful characters, all revolving around an ultra-charismatic art dealer.
Andrew Garfield‘s character may be rebelling against a king in The Uprising, but he says billionaires are the ones who should also be “scared shitless” by the film.
During a recent Q&A, alongside director Paul Greengrass, Garfield explained why he hopes the film serves as a warning to the world’s richest. The Uprising, based on the uprising that inspired the legend of Robin Hood, sees Garfield’s character Ploughman form an army against the tyranny of King Richard II in a fight for justice.
“First, I hope they come and see it, for first thing,” the Artificial actor said when asked what he hopes audiences take away from the movie. “But secondly, I hope it’s galvanizing. I hope there’s some awakening that people feel, that they feel that their own, that we all feel like our own struggles are being reflected in the struggles of these characters from a distant time and place, and that it could be directive. And I hope that if any billionaires watch it, they’re scared shitless.”
The moderator later quoted one line from the film: “There will be no peace until we are healed.” In response, Greengrass noted the phrase is “true of today as it [was] 600 years ago, for sure.”
Garfield chimed in, adding, “I’m going to include the billionaires in that as well, because they’re the ones that might be the most soul sick. They’re the ones that might need the healing the most in a way.”
Though The Uprising is set in 14th-century England, the film’s themes about the abuse of power and dehumanization of the underclass seemed to resonate with Garfield.
“The truth of that period of time,” the two-time Oscar nominee told Esquire last month, “was that there were brutal conditions for working-class people, brutal taxation post-plague, incompetence in government, abusive practices, with the underclass being seen as sub-human creatures from the perspective of those in power.”
When asked whether those conditions could pertain to today’s world, Garfield said, “Yeah, here and in the United States, and all around the world.”
“One of the things that’s cool about this film is that it’s a bit of a Rorschach Test,” he continued. “A lot of differently politically aligned people will go, ‘Oh, it’s me!’ We get into really dicey territory — and to not see the [British far-right activist] Tommy Robinson stuff as anything but despicable is just ignorant — but I’m sure a bunch of people will look at this film and go, ‘England first! What about us?’ It’ll be very interesting in that regard.”
He later added, “What was inspiring and exciting in the making of [the film] was this possibility of justice, this possibility of healing.”
Indian filmmaker Anuparna Roy has been carrying Ameena’s story since childhood.
Ameena was a bonded laborer in Roy’s hometown, and something she once said about her marriage stayed with the director long after she grew up and moved away. That memory became the seed for “Lovers in the Blue Night,” which premieres in the Horizons competition at the Venice Film Festival a year after Roy’s debut feature, “Songs of Forgotten Trees,” made her the first Indian filmmaker to win the section’s best director prize.
International sales on the new film are being handled by Parallax.
Roy says “Songs of Forgotten Trees” was a personal story made under difficult funding conditions, built around two women who barely leave a single house. “Lovers in the Blue Night” widens that frame to four migrants moving through Mumbai; she also describes the production itself as far more professional this time, with deadlines and limitations she is still learning to work inside.
Asked whether she expected the new film to move into Venice’s main competition rather in Horizons, Roy says she dreamed of it rather than expected it, and that landing in the section again is no disappointment. She still considers herself a new director learning her craft alongside filmmakers she admires.
Ameena’s arc did not stay fixed to the facts that Roy remembered. She says her early instinct was rebellious, imagining the character finding real love and leaving her marriage behind. But that path stopped looking like simple freedom as the script developed. “That is also another loop — another loop of patriarchy,” Roy says, describing what looks from the outside like an escape into a happy ending.
That refusal to let escape read as simple freedom extends to how Roy treats her characters’ circumstances more broadly. She wanted the migrants’ hardship to shape them without defining them entirely, resisting the idea that displacement should crowd out their ordinary desires for intimacy, jealousy or tenderness. Karim, a closeted gay man married to Ameena, and his lover Sukka, a man trying to break free of caste, sit at the center of that approach. Roy says she wanted a neutral, empathetic language for both men rather than exaggerating poverty or turning their struggle into ideology.
Roy frames love itself as a form of resistance for characters, who are punished for wanting things. “When you are lonely or displaced, even a small gesture of intimacy can begin to feel enormous,” she says, describing what she calls the illusion of love: a space where affection, longing, isolation, need and fantasy start to blur together, so that people fall for the possibility of a person as much as the person themselves.
One choice stands out. Karim produces rat poison and kills rats in wealthy Mumbai housing societies, a job Roy based on someone she saw doing the same work in the city’s Andheri East suburb. She calls the image of him coming home from that job to kiss another man “no less than revolutionary,” and says placing the two things side by side felt deeply political to her.
Displacement links this film to Roy’s debut. Both stories draw on floods Roy experienced growing up in a coastal region near the Bangladesh border, close to the Bay of Bengal, and both send their characters into exile from a destroyed home. Where her first film explored two women, this one turns to two men and the duality of bisexuality.
Upcoming stories include “In the Shadow in the Light,” a romantic feature about a dysfunctional marriage modeled partly on her parents, and an untitled project about a woman’s sexual transit.
The hometown crowd went wild Monday night for the world premiere of The Spiral, a campy, fun Italian horror thriller from director Paolo Strippoli (The Holy Boy, A Classic Horror Story).
Jasmine Trinca (Saint Laurent, The Caiman) stars as Anna, a controlling mother who makes a deal with the devil, in the form of a trench coat-wearing, chain-smoking Valeria Bruni Tedeschi, to save her daughter Alice (Romana Maggiora Vergano) after a gruesome accident. But the agreement sets off a, you guessed it, spiral of macabre events that will end up tearing the family apart. Adriano Giannini plays Anna’s wealthy alpha-male businessman husband, Walter. Andrea Genovese plays their son Tobia.
The twisty genre film, which dips into Grand Guignol territory, with plenty of OTT performances — led by Tedeschi’s glorious turn — may be an outsider for the Golden Lion, but it definitely played for the Venice audience, which gave it a warm and enthusiastic standing ovation, with the director and cast coaxing the crowd to keep clapping past the 9-minute mark.
Whether that will be enough to convince the Venice jury, headed by The Bride! director Maggie Gyllenhaal, remains to be seen. But at a Venice where fun has been in short supply, The Sprial, came as a welcome palate cleanser.
The Spiral next heads to Toronto, where it’s screening in the popular Midnight Madness section. Le Pacte, which is handling international sales for the film, will be hopeful for its prospects. Given the film’s high-concept premise, remake rights could also be in play.
The film hits Italian theaters Oct. 8, released by 01 Distribution.
On Monday, the rapper wrote on social media, “Wanting all humans to be treated equal should never be controversial.” His post also included his speech from Saturday, the second night of back-to-back shows at New Jersey’s MetLife Stadium.
After stating “Free Palestine” again onstage Saturday night, Macklemore later clarified to the audience, “To all of my Jewish brothers and sisters: criticism of Israel, criticism of apartheid, being against genocide in no way is a criticism of you. My message is for peace; love for all human beings to be treated with dignity, respect, and equality.”
“So I say Free Palestine, I say Free Lebanon, I say Free Cuba, I say Free Congo, Free Sudan, I say Free all people in America living in fear of this terrorist organization, ICE. None of us will be free until we are all free,” he added.
This came a day after Macklemore’s opening set on Friday drew criticism for the rapper’s performance of his protest song “Hind’s Hall” and telling the audience, “A big part of the reason why I wanted to do this tour in the first place is so I could stand up in stadiums like this and say two words that are very near and dear to my heart: Free Palestine.”
The Israeli-American Council (IAC) launched a petition in response, calling for Macklemore’s removal for the remaining tour dates.
“This was an Ed Sheeran concert – not a political rally, not a protest, and not an activist event,” the petition read in part. “The issue is not whether Macklemore has the right to hold political views. The question is where the line should be drawn when an opening act uses a global concert platform to advance a one-sided political agenda.”
The Hollywood Reporter has reached out to Sheeran’s rep for comment, but did not hear back at the time of publication.
French President Emmanuel Macron said the Lumière Summit in Saint-Paul-de-Vence, which he co-chaired with South Korean President Lee Jae Myung on Monday, was deliberately held at a moment of dramatic upheaval for the entertainment business, from the growing dominance of YouTube and TikTok to AI and media consolidation.
Speaking to Variety at the event, he pointed to the growing power of YouTube, TikTok and other social platforms as one of the reasons the timing was right for the landmark gathering devoted to the future of cinema and the moving image.
“YouTube is very efficient. It’s de facto the default platform in a lot of countries for a lot of people. And it’s quite clear that today they divert a lot of people from these platforms or the big channels where a lot of money is invested in creation,” said Macron at the Fondation Maeght, a French art foundation showcasing works of art from Georges Braque to Joan Miró, nestled amid a luxuriant forest.
He argued that YouTube, which is currently outtalking Netflix in over 20 international markets, should increasingly be brought into the same ecosystem as other global platforms such as Netflix, Amazon and Disney, that have been required to invest in local production.
France and other countries need to “engage with them” in a multilateral way, he said, to try to change the platform’s approach so that it helps finance “local content,” while supporting “more creativity, more creations, more respect of the authors.”
Macron, who’s been a driving force behind the rise of French AI companies, including Mistral, as well as the creation of the EU’s AI Act and the international summit on AI that was held last year, also said France wanted to compete aggressively in AI by expanding computing capacity, data centers and European models. But he insisted that technological ambition must be accompanied by protections for intellectual property and much greater transparency.
Asked about his discussions about EU regulations with companies such as Google or OpenAI, Macron said that while France is eager to compete in the AI race, it’s also pushing for greater transparency and protections for creators in Europe.
“When you have content produced by AI, you just have to know it. So transparency for us is key,” he said. “We want to flag when the content is produced with AI. Because we think it’s fair.”
Without that, Macron warned, AI could “totally transform the relationship to truth,” feeding distrust not only in creative content but in science and democracy.
Macron also addressed the increasing consolidation of the entertainment business and his discussions surrounding the greenlighting of the Paramount-Warner Bros. deal by the EU regulators. He said he didn’t have an active role in lobbying for the merger, but admitted that he supported “the commitments made to invest more in Europe and to create more content and to provide guarantees and commitments vis-à-vis our theaters.” Paramount Skydance boss David Ellison traveled to Paris (as well as London and Germany) in January and met with Macron, among other high-level political and industry figures.
The French President described the merger case as fundamentally “a U.S. M&A story,” saying his priority was ensuring that a major company like Paramount Skydance maintained a strong footprint in France and Europe. While Ellison wasn’t present at the Lumiere Summit, Paramount Skydance’s Andy Gordon was there and sat at Macron’s table at lunch, alongside The Walt Disney Company’s Dana Walden, Netflix’s Ted Sarandos, NBCUniversal Entertainment’s Donna Langley, Mediawan’s Pierre-Antoine Capton and Sony’s Tom Rothman, among others.
“What is important to us is to make sure that you will still finance creation, that you will still work with us, that you will still make more movies in France and in Europe,” he said.
The Summit is also being held on the last stretch of his second mandate as he is due to leave office in May. With the far-right and far-left parties dominating polls ahead of the next presidential election, the French film and TV industry has shared deep concerns over the future of France’s prized cultural model that could come under threat.
Asked what would survive beyond 2027, Macron pointed first to France’s international tax credit for international movies and TV series, which was recently strengthened with the inclusion of above-the-line costs and has helped draw a growing number of major U.S. and international productions to the country.
“We improved tax credits, international tax credits. If somebody wants to withdraw this tax credit, it will just kill the industry and a lot of opportunities,” said Macron, who had told Variety in a cover interview in 2024 that he would fight for “Emily in Paris” Season 5 to remain in the French capital, prompting a comedic feud with the Rome mayor. Besides the sixth and final season of “Emily in Paris,” “The White Lotus” season 4 is also currently shooting in France.
He also pointed to the investment made during his presidency in studios and production infrastructure as part of his France 2030 plan, which he said has turned France into a leading international shooting destination.
“We want more of them to make new movies in our country. Why? Because it’s good for our ecosystem,” he said. “It will hire a lot of technicians and actors and so on. It will show our landscapes, and it will create jobs during the movie is made and it will attract a lot of people in our landscapes and our cities and so on.”
Yet, Macron suggested the bigger battle after his departure could be over the foundations of France’s cultural policy itself.
“Some extremes are fighting very hard against the CNC (National Film Board) and what we call this exception culturelle and the DNA of the French model,” Macron said. France’s system, developed over decades, uses levies on cinema admissions that are collected by the National Film Board and re-injected into local production, alongside other schemes supporting independent producers, filmmakers and theaters.
“We have to be ready to resist because this model has been created during decades by a lot of artists, by the state and the different governments and it’s extremely important,” he said.
Ultimately, Macron tied the defense of the French model not only to jobs and filmmaking but also to the country’s soft power.
“Culture and art is part of what France is, but it’s part as well of our soft power outside,” he said. “Recognizing that art is an exception which requires specific investment of the government, diversity of people, players, authors, protection of their rights and a specific effort in terms of multilateralism is crucial.”
Multiple acts participating in a comedy festival in Portugal, the inaugural MEO Commedia a La Carte Fest (Lisbon International Humour Festival), have announced that they are no longer participating.
Actress Inês Aires Pereira announced on Saturday that her show Namastê was being removed from the festival‘s lineup and explained her reasoning being that “one of the names insistently defends ideas and acts that I consider indefensible.” She also added in her social media post: “We cannot relativize or normalize a genocide.”
Her statement did not explicitly identify any particular act that she was referring to.
The comedy duo Cebola Mol, made up of Eduardo Madeira and Filipe Homem Fonseca, also announced on Saturday that they too would not be performing in the festival.
“We will celebrate justice, freedom and joy with you on another occasion,” they wrote on social media.
Other acts to withdraw from the festival include concert “Tributo Pop” (Carolina Deslandes, Tatanka and Bárbara Tinoco), the group Conjunto Cuca Monga, comedian Pedro Tochas and visual artist Vhils (Alexandre Farto). Reasoning was not publicly revealed.
The first edition of the Lisbon International Humour Festival will take place from Oct. 29 to Nov. 1.
American comedian Jerry Seinfeld is headlining the festival.
The comedian has openly supported Israel amid the ongoing Israel-Gaza conflict. When announcing their exit from the upcoming festival, Cebola Mol shared an illustrated photo of themselves and a watermelon, which is recognized as an unofficial symbol for Palestinian solidarity. The fruit’s colors notably match the Palestinian flag.
Seinfeld recently received backlash for his comments last year while appearing at a Duke University event, where he compared the Free Palestine movement to the Ku Klux Klan.
“Free Palestine is, to me, just — you’re free to say you don’t like Jews,” Seinfeld said, according to The Chronicle, Duke University’s student newspaper. “Just say you don’t like Jews. By saying ‘Free Palestine,’ you’re not admitting what you really think. So it’s actually — compared to the Ku Klux Klan, I’m actually thinking the Klan is actually a little better here because they can come right out and say, ‘We don’t like Blacks, we don’t like Jews.’ OK that’s honest.”
TheChronicle quoted a University spokesperson who noted, “Duke does not preview the remarks of speakers who are invited to campus, and the invitation of speakers to campus does not imply any endorsement of their remarks.”
The Hollywood Reporter has reached out to reps for Seinfeld and the Portugal festival for comment.
The entertainment industry has been increasingly vocal about the Israel-Gaza conflict, with calls to remove certain actors from projects including Kevin Zegers from Heated Rivarly, and mounting criticism directed at individuals expressing opposing views on the issue. Two actors recently withdrew from the production of Right Before I Go at the Soho Theatre over Dame Maureen Lipman‘s public comments about Israel and Palestine. A petition for Macklemore to be removed from Ed Sheeran‘s tour has also spurred after the artist yelled “Free Palestine“ while performing at the MetLife Stadium.
Perhaps unsurprisingly, the music duo turned up fashionably late to the Cineworld theater in Leicester Square. Liam pumped his fist in the air with an arm wrapped around Noel, who could only smile at the fervent reaction around them.
By the time the rock legends arrived, the black carpet was empty, aside from the herd of photographers and screaming fans.
Written by Peaky Blinders mastermind Steven Knight, the two-hour movie on their globe-spanning reunion tour last year combines concert film, backstage documentary and an unusually intimate portrait of the Gallagher brothers’ famously volatile relationship.
Directors Dylan Southern and Will Lovelace followed the duo across 12 concerts on three continents during the Live ’25 tour, capturing previously unseen rehearsals, backstage and onstage footage.
Knight, Southern, Lovelace and the producers joined the Gallaghers for a short introduction before the screening. Though they didn’t speak — bar Liam’s “story of my fucking life” over a faulty microphone — the siblings had made quite the entrance.
“I hope that people watch this and maybe think about someone they haven’t spoken to for a while,” said Knight, referring to the brothers’ notorious feud that kept them out of contact for 15 years. “It’s about the story of these two, the story of the band, but it’s much more than that. And people who watch it… You can hear people getting emotional about it. […] It’s an emotional film. It’s meant to be emotional,” he added. “Be prepared, it’s really good.”
The event was teeming with an eclectic group of stars, from Fontaines D.C. frontman Grian Chatten and soccer player Jack Grealish, to TV presenter Vernon Kay and prolific film producer Andrew Macdonald. Also in attendance were Liam and Noel’s children, including Lennon, Anais, Donovan, Sonny, Molly, and Gene, rooting for their rockstar fathers.
Disney will give Oasis: Don’t Look Back in Anger a limited theatrical run, with the film opening in select Imax and U.S. cinemas on Sept. 11. It will then stream later this year on Hulu in the U.S. and exclusively on Disney+ internationally.
The first teaser trailer for Alex Gibney’s highly anticipated Elon Musk documentary “Musk” has been released.
The film will world premiere out of competition at the 83rd Venice International Film Festival on Sept. 8 before continuing to the Toronto International Film Festival.
In the 48-second teaser, montages of spacecrafts and astronautical devices fill the screen while voices giving varied commentary about Musk play in the background. The snippet does not give away much about the plot, but illustrates Musk’s polarizing character.
“He’s possibly the greatest living inventor. He is the real-life Iron Man. He is one of the greatest builders of all time,” the background voices say. As the montage progresses, the tone of the statements changes. “He is the greatest capitalist in history. He’s chaotic, random, capricious, manifestly cruel and selfish. He’s a fascist,” the backtrack continues.
“Elon is a nuke,” the voice in the teaser concludes as a spacecraft hits the ground and implodes, bursting into flames.
Gibney first revealed in March 2023 that he had begun work on the documentary and was “many months” into production. Musk responded to news of the project on his X/Twitter account by predicting it would be “a hit piece.” Gibney fired back on the same platform, asking “how would you know?”
The film, with a nearly four-hour running time, will feature an original song from Talking Heads frontman David Byrne, who wrote and performed the new track entitled “Let Me Sell You a Dream.”
Gibney directs and produces “Musk,” joined by Jessie Deeter and Erin Edeiken for Jigsaw Productions, Dana O’Keefe for Double Agent, Joey Marra and Zhang Xin for Closer Media and Anonymous Content’s Nick Shumaker and Jessica Grimshaw. Ronan Farrow and Lawrence Wright round out the producing team.
The winning combination of whimsy, gravitas and good looks that Gael García Bernal has brought to both the big (Amores Perros, Y tu mamá tambíen) and small (Mozart in the Jungle) screens fails to translate to his second stab as director, Hombre Al Agua, an offbeat dramedy that’s too chaotic and muddled to hit its marks.
The actor, who wrote the script with Mariano Pensotti, does double duty as star and helmer in this overcooked story of a Cuban lifeguard who becomes the right-hand man to a Mexican business tycoon, only to have his life quickly unravel because, well, that’s what these quirky dramedies do. The film strains for laughs and meaning despite a good cast that’s easy on the eyes, even if they play characters who seldom feel like real people. After its premiere in the Venice Spotlight sidebar, Hombre should make headways in Latin America but will have a harder time navigating international waters.
Hombre Al Agua
The Bottom Line
An offbeat passion project without much purpose.
Venue: Venice Film Festival (Venice Spotlight) Cast: Gael García Bernal, Esmeralda Pimentel, Débora Nascimento, Natalia Oreiro, Anna Díaz, Manuel García Rulfo, Jorge Salinas, Ricky Martin Director: Gael García Bernal Screenwriters: Gael García Bernal, Mariano Pensotti
1 hour 56 minutes
The title translates to “man overboard,” which applies to both the topsy-turvy tone the actor gives his third feature after his more restrained 2019 debut drama, Chicuarotes, as well as to his new movie’s inciting incident. Following a rather hilariously botched opening sex scene between Cuban émigré Camilo (Bernal) and his pro athlete wife Juana (Esmeralda Pimentel), we flash back to see how Camilo went from being a lonely lifeguard on Cuba’s Varadero Beach to a successful father and businessman after saving scion Don Abel (Jorge Salinas) from drowning, marrying the man’s daughter soon after. Now he lives on his boss and father-in-law’s bodacious country estate in Yucatán, helping Juana take care of their baby daughter and managing a factory that holds a monopoly on zip ties.
The set-up is fast and the humor on the wacky side, like a Coen brothers flick minus their mastery of narrative rhythm, which here remains erratic throughout. Lots of crazy things start happening to Camilo, beginning with the breakdown of his marriage as Juana gets too close to a striking Brazilian actress, Fabiana (Débora Nascimento), whom she’s training to portray a professional pole vaulter onscreen. Meanwhile, Don Abel gets hit by a truck and confidentially asks Camilo to take care of his pregnant Argentine mistress Silvana (Natalia Oreiro), whom he tucks away on the estate for most of the film. Things are also coming apart at Camilo’s factory, where he’s forced to lay off a chunk of the staff.
The actor-director tosses all he can at his protagonist without much logic, in what feels like a rudderless midlife crisis scenario that never finds a strong throughline. It’s hard to know what the unifying principle is in Hombre Al Agua, aside from Bernal surrounding himself with three beautiful women — and one beautiful man in the form of Ricky Martin, who makes a fun cameo — in a beautiful location.
He seems to be having a good time, flexing a Cuban accent and his usual charms to play a decent man who’s desperately hanging onto a privileged life that fell into his lap. There’s some running social commentary in the film about the Mexican class divide, whether it involves Don Abel’s complete disregard for his workers or Juana prancing around like a spoiled princess in gym wear, but such observations rarely dip below the surface. A black-and-white Brazilian telenovela, starring Fabiana as the wife of a blue-collar rebel, constantly plays in the background but doesn’t leave much of a mark.
At best, Hombre Al Agua is a passion project in which the Mexican star dishes out some thoughts on fatherhood, masculinity and moral purpose. But tighter scripting and less mayhem would have helped make his message heard, instead of diluting it with too many shenanigans. “This is like a bad sitcom,” Camilo exclaims at a point when things really get silly, and you can’t help wondering if Bernal is saying aloud what we’ve all been thinking.
