Iconoclastic Mexican director Carlos Reygadas continues to test the boundaries of cinema, and the patience of many a viewer, in his latest audaciously executed head trip, Heil Jupiter!

Making its world premiere at the New York Film Festival, this highly experimental and exhausting experience hops across several continents, time periods and languages — including an invented one used for many dialogue scenes — as it follows four friends whose lives go from heavenly to hellish over the course of 158 minutes. Who these people are and what they’ve even doing seem to matter less to Reygadas than plunging us into visceral scenes of sex, authoritarian violence and head-scratching surrealism taking place amid lots of breathtaking backdrops shot across the globe. There are definitely some unforgettable images in Heil Jupiter!, but good luck trying to make heads or tails of them.

The Mexican auteur started off in the early aughts with a trio of strikingly directed arthouse flicks (Japón, Battle in Heaven, Silent Light) combining a form of minimalist realism with something more animalistic and otherworldly, as if the work of Robert Bresson had been rejiggered by Terence Malick. For his fourth feature, Post Tenebras Lux, Reygadas took a major detour toward the avant-garde and the personal, in a move that garnered him some detractors while pleasing his more hardcore fans. He went even further with 2018’s Nuestro tiempo, which felt much more self-indulgent than exploratory.

In terms of pure brazenness , Heil Jupiter! marks another leap forward for the director, who has crafted a movie that showcases his trademark visual inventiveness during nearly three hours of head-scratching nonsense. This could again please Reygadas’ diehard followers, while others will be left baffled by a film that seems to be making things up as it goes along. At best, this boldly immersive effort will find a home at other festivals and in one-off screenings, whereas general indie distribution seems unlikely.

The movie kicks off with a bunch of abstract colors and shapes flashing on screen for a while, as if we were watching an animated Rothko painting or being brainwashed à la The Parallax View. Reygadas then hurls us into the sea during a long shot of waves hitting the camera, until he finally cuts away to reveal a band of amigos — Lina (Neli de la Rosa), Milu (Alexis Sánchez Alonso), Tzina (Flor de León) and Said (Alexis Said Villa de León) — embarking on a fun-filled and rather graphic foursome by the seashore. The lengthy opening sequence ends with the camera literally descending into one of the guy’s butts and then up into his bowels, which could be read as a metaphor for this entire project.

Shot by a handful of cameramen, with Daniel Valdés Serrano receiving top credit, Heil Jupiter! shares a similar look to Reygadas’ recent features, using a box-like 1.33:1 frame and short focal lengths to give everything an experiential, you-are-there quality. Sometimes the images are blurred along the edges, while other shots seem to have been manipulated using CGI. The soundtrack is filled with layered mixing punctuated by the occasional burst of operatic or choral music (the score is credited to ten people, including Reygadas).

It’s worth emphasizing the film’s imagery because it’s otherwise hard to discern anything resembling a plot. After the opening orgy, we cut to fighter jets flying over snow-capped peaks in search of a “Mysterious Earth Sound.” Then we’re inside a cave lighted by campfire, where we see Lina and Tzina giving each other manual pleasure while other semi-naked folks dance around them. Then we’re in Poland, where the bodycam of a local cop reveals a raid on an immigrant family that includes Tzina, who now has several children. Later, she’s brought in a police car to a nearby pond, strapped to an excavator and dunked into the water as a crowd of anti-immigrant protestors cheer on the public execution.

The other characters don’t fare much better in a film that takes us from the ecstasy of sexual freedom to scenes of torture, humiliation and degradation, including one long sequence set in a meat factory specializing in human body parts. Much of the closing reel of Heil Jupiter! focuses on a trial during which Lina is accused of witchcraft by the Mexican authorities, in extended dialogue scenes shot like they’re on Court TV. Excuse me, but what hell is going on here? (Emphasis on hell, which describes the general mood during much of the film, even if the ending offers up a semi-surreal form of hope.)

In the press notes, Reygadas claims he was “seeking out images and sounds, all undefined, without structure but clearly trembling together.” That’s probably a good summary of what he’s accomplished here, because one would be hard pressed to make sense of this unrestrained mess of a movie. That doesn’t mean Heil Jupiter! lacks a certain power, especially during some of its more visually absorbing moments, but taken as a whole — and a long one at that — it leaves you feeling submerged, indundated and tiredly washed ashore, just like in its neverending opening shot.

As we draw closer to another awards season, ASIFA-Hollywood has penciled in a new FYC campaign. The group behind the Annie Awards has revealed ASIFA-Showcase, a two-day event of screenings, panels and presentations set for next month in Los Angeles.

Billed as bringing together some of the biggest names in animation, ASIFA-Showcase runs November 14-15 at the Audrey Irmas Pavilion as part of the four-day Infinity Festival Hollywood. The goal is to give ASIFA-Hollywood members an inside look at the films, TV shows and creative talent shaping the year in animation.

ASIFA-Showcase Attendees can see the latest toon features and TV programs amd hear directly from the filmmakers and creative teams behind them as they delve into the artistry, storytelling and shaping animation this awards season. From major studio productions to independent animation, the event is designed to create a place where the animation community can discover new work, exchange ideas and celebrate the artists who bring these stories to life.

Studios in the mix include Apple TV, Crunchyroll, Disney/Pixar, Disney Television, IFC, LAIKA, Marvel Animation, Netflix Animation, Paramount+, Sony Pictures Animation, Tierney Corp, Universal Pictures/DreamWorks Animation and Warner Bros. Animation

“We wanted to create an event that belongs to the animation community and gives the incredible work being produced across our industry a place to be seen, discussed and celebrated as awards season begins,” said Aubry Mintz, Executive Director of ASIFA-Hollywood. “The Showcase has drawn an extraordinary lineup in its very first year, and we’re excited to bring so many parts of our animation community together in one place.”

ASIFA-Hollywood produces the Annie Awards, the annual celebration of animation whose 2026 ceremony saw eventual Best Animated Feature Oscar winner Kpop Demon Hunters sweep all 10 of the categories for which is was nominated.

The broader Infinity Festival Hollywood features programming across entertainment, animation, gaming, sports and emerging media.

EXCLUSIVE: Women Like Us, the Netflix film from the Obamas’ Higher Ground and Charles D. King’s Macro Film Studios, has rounded out its cast with nine additions: Greg Tarzan Davis (Top Gun), Melanie Liburd (Bad Boys: Ride or Die), Harry Lennix (The Blacklist), Joy Bryant (Parenthood), Danielle Pinnock (Ghosts), Dewayne Perkins (The Studio), six-time Grammy winner Samara Joy, Tiffany Boone (Mufasa: The Lion King) and Gail Bean (The Drop: A Snowfall Saga).

Character details haven’t been disclosed. Announced in July, the film is led by Vivica A. Fox, Vanessa Williams, Jenifer Lewis and Whoopi Goldberg.

Women Like Us is the story of a recently widowed woman is dragged to the Hamptons by her lifelong best friends and sister on what should have been her 30th anniversary. The weekend becomes a reckoning with grief, with marriage, with the sisterhood that’s carried them throughout the years, and with the realization that dreams don’t have an expiration date.

Tasha Smith is directing from a script by Ali Kinney, with writing from Tracy Oliver. James Lopez and Poppy Hanks are producing for Macro, whose founder King is exec producing. Anikah McLaren and Mark R. Wright are producing for Higher Ground, whose Michelle Obama is exec producing.

Women Like Us is the latest of many projects stemming from a partnership between Netflix and Higher Ground, which won an Oscar for its work on their doc American Factory. Others upcoming include the series The Altruists and All the Sinners Bleed, as well as an untitled mother-daughter comedy starring Julianne Moore.

Davis is repped by CAA, Untitled, and Hansen, Jacobson, Teller; Liburd by Accelerate, Independent Artist Group, Untitled, and Christopher D. Abramson, P.C.; Lennix by Innovative Artists and Untitled; Bryant by Gersh, Principal Entertainment LA, and Schreck Rose Dapello; Pinnock by IAG, Mainstay Entertainment, and Hansen, Jacobson; Perkins by CAA, Artists First, and Schreck Rose Dapello; Boone by CAA, Vault Entertainment, and Toczek Suddleson; and Bean by Innovative, Echo Lake Entertainment, and The Hay Law Group.