Gods of Mexico, an Artistic Triumph that Eschews Narrative
The documentary depicts the indigenous people of Mexico with sublime reverence, highlighting a generational harmony with the land.

When Rossini’s opera Le Siège de Corinthe was premiered in 1826 in Paris it became a huge success all over Europe. The Rossini Opera Festival presents the opera in a new production from Carlus Padrissa of the Barcelona collective La Fura dels Baus, “which here has one of its most interesting shows” (connessiallopera.it). Artistically “Roberto Abbado holds the ranks excellently and supports a well-cohesive and balanced cast” (L’ape musicale) “where bass-baritone Luca Pisaroni growled fearsomely as Sultan Mahomet, tenor Sergey Romanovsky as Néoclès matched a warm tone with pinging top notes, and tenor John Irvin was self-assured as Cléomène, but soprano Nino Machaidze as Pamyra thrilled most of all, as she purred effortlessly through pyrotechnic coloratura” (Financial Times).
The documentary depicts the indigenous people of Mexico with sublime reverence, highlighting a generational harmony with the land.
Carolina Caroline follows Caroline (Samara Weaving), a bored young woman dreaming of escaping a small Texas town where nothing ever happens. When she meets Oliver (Kyle Gallner) at her workplace while he is conning the owner, she sees her perfect opportunity to get out. Their whirlwind romance strongly echoes Bonnie and Clyde, as the two quickly embark on a bank-robbing spree.
The second season arrives over three years after its first. While late on arrival, most audience members will be happy.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.