Fifty-year-old María García is the owner of Dos Estaciones, a once-majestic tequila factory struggling to stay afloat and the final hold-over from generations of Mexican-owned tequila plants in the highlands of Jalisco; the rest have folded to foreign corporations. Once one of the wealthiest people in town, María knows her current financial situation is untenable. When a persistent plague and an unexpected flood cause irreversible damage, Maria is forced to do everything s... (Full plot summary below)
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Fifty-year-old María García is the owner of Dos Estaciones, a once-majestic tequila factory struggling to stay afloat and the final hold-over from generations of Mexican-owned tequila plants in the highlands of Jalisco; the rest have folded to foreign corporations. Once one of the wealthiest people in town, María knows her current financial situation is untenable. When a persistent plague and an unexpected flood cause irreversible damage, Maria is forced to do everything she can to save her community's main source of economy and pride.
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| Paste MagazineNatalia KeoganHaving grown up in Atotonilco El Alto, Jalisco, across the street from a tequila factory owned by his grandfather, González imbues the film with intimate touches gleaned by a native to the state and its most lucrative industry—blending his sparse yet stirring narrative with the observational eye typical of his previous documentary work. |
| RogerEbert.comMatt FagerholmIndeed, González has the keen eye of a documentarian that can perceive the very details that normally escape one’s gaze. His film demonstrates just how much we can glean by slowing down to savor the sights around us and those who inhabit them. To take the time to look at the world through the eyes of others rather than be limited by our own perspective. |
| Screen DailyJonathan RomneyGiven that it’s about a tequila factory, Mexican drama Dos Estaciones is as sobering as they come – but it’s also a bracingly potent distillation of drama, psychological portraiture and passionate flouting of clichés, both national and sexual. |
| The Hollywood ReporterSheri LindenAt once a vivid portrait of a place and its people, an unsentimental ode to the art and craft of tequila-making, a damning depiction of the results of globalizing economic policies, and an exquisite character study, with Teresa Sánchez delivering a performance of potent restraint. |
| The New York TimesManohla DargisAt once specific and expansive, Dos Estaciones can be described several ways: as a drama, a character study, a meditative exploration of the ravages of globalization. At the same time, part of the movie’s pleasure is how it avoids facile categorization. |
| TheWrapRobert AbeleIn a sense, Dos Estaciones creates its own gripping shot-chaser cycle of moods, the accumulative effect of landscape beauty, grim news, observed process (the machinery of making tequila), and abiding solemnity from Sánchez’s commanding turn, giving us plenty to digest when the incident-heavy final stretch occurs. |
| IndieWireCarlos AguilarGonzález’s fiction is so indelibly tied to the reality of the place and its inebriating spirit that certain segments of the film (particularly those focused on the painstaking work of making tequila) give the impression of watching an observational documentary. |
| Austin ChronicleJenny NulfFor years it feels like the upcoming tequila shortage has been whispered about. But with so many celebrities announcing their own tequila brands, sometimes it’s hard to grasp the dire situation many tequila plants are facing. Juan Pablo González’s film Dos Estaciones centers around this very real crisis, a subtle reflection on the political and environmental pressures Mexican-owned tequila factories are facing. |
| Movie NationRoger MooreIt’s the detail, the sense of small lives closed off and growing more isolated that makes this film worth watching. |
| Slant MagazineWilliam RepassFor all its lush cinematography, capturing regional custom and dramatic panoramas alike, this is a film about repression, an inhibition that no amount of tequila can take away. |
