Reseñas de la crítica

Sachs’s vision of his home town owes nothing to tourism, music, or myth. He summons Memphis in intimate infinitesimals that embody great dramatic passions, and he crafts a distinctive aesthetic to bring its hidden lives—and the price of hiding—into the light.

There is a bit of first-film awkwardness. . . . But as in a lot of memorable neo-realist movies from different eras and different nations, the movie’s roughness proves inconsequential compared to the honesty of the characters’ stories and the confidence of the director’s voice.

Sachs allowed his actors to develop situations and dialogue through improvisation, giving the film a meandering, naturalistic feel. When plot does assert itself, in the abrupt closing scenes, the effect is truly disconcerting.

Stylistically captivating, subtly nuanced, and structurally unpredictable... If you think contemporary social reality rarely winds up in movies, this feature offers a bracing if mainly low-key exception to the rule.

Unfortunately, for all his obvious latent talent, Sachs seems to have run afoul of a basic creative pitfall: the tendency of art that takes aimlessness and sterility as its dominant subjects to register as both.

For all the humid atmosphere that billows up, "The Delta" doesn't know what to do with a central relationship that at odd moments suggests a modern-day Tom Sawyer-Huck Finn parody... The end result is a film that's alternatingly intriguing and frustrating and that leaves too many loose ends dangling.

An original but severely flawed gay-themed drama... This small-scale, intimate picture displays a fresh cinematic voice, but suffers from narrative problems and ultra-modest tech credits.