समाचार

Eduardo Mendoza turned a lot of heads with 2013’s The Gospel of The Flesh. Previously only known for 2005's teen comedy Mañana Te Cuento -- which fell into the typical comedy trap of switching out legitimately funny juvenile antics for serious drama, and never recovered -- and its sequel, Mendoza reinvented himself as a serious director with a dark, gritty multi-character drama which owed a bit to Alejandro Gonzalez Iñárritu’s Amores Perros but which was still unmistakably Peruvian; a portrait of Lima, its cultures and beliefs in all their chaotic beauty. Mendoza’s growth as a filmmaker continues this year with La Hora Final, which reaches back into Peru’s recent past. Set during the early 1990s, it’s a dramatization of the events which led to the...

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