THE STORY – 1979, New Mexico, USA. Olmo is stuck. Today is his turn to take care of his sick father even though he is only 14-years-old and would much rather be hanging out with his best friend, Miguel. But when Olmo gets invited to a party by his beautiful neighbor Nina, he will do whatever he can to get out of his duties, embarking on a journey of mischief and chaos. As the night unfolds, he may come to love the very place from which he has spent so long trying to escape: his home.
THE CAST – Aivan Uttapa, Gustavo Sánchez Parra, Diego Olmedo, Andrea Suárez Paz & Rosa Armendariz
THE TEAM – Fernando Eimbcke (Director/Writer) & Vanesa Garnica (Writer)
THE RUNNING TIME – 87 Minutes
Premiering at the 2025 Berlin Film Festival in the Panorama strand, “Olmo” is the fourth feature from Mexican writer-director Fernando Eimbcke, whose natural affinity for coming-of-age movies was immediately apparent in his previous features, “Duck Season” (2004) and “Club Sandwich” (2013). Co-written with Vanesa Garnica, Eimbcke’s latest feature is very much of a piece with his previous films, and the result is quietly delightful.
Set in the dusty suburbs of New Mexico in 1979, the film centers on 14-year-old Olmo (Aivan Uttapa), who lives with his bed-ridden father Nestor (Gustavo Sánchez Parra), chain-smoking older sister Ana (Rosa Armendariz) and long-suffering mother Cecilia (Andrea Suarez Paz), who works long hours to keep the family afloat, but is still three months behind with the rent. One Saturday night, Olmo and his red-booted best friend Miguel (Diego Olmedo) receive the invitation of their dreams when Olmo’s teenage neighbor Tina (Melanie Frometa), on whom he has a monstrous crush, says they can come to a local party, as long as they bring a stereo.
This presents Olmo and Miguel with a series of difficulties to overcome, from the slight snag that Nestor’s stereo has stopped working to a much larger problem, namely that both Ana and Cecilia are out for the night, meaning that Olmo will have to leave his father unattended. In desperation, Olmo prevails upon Nestor’s estranged brother, Uncle Julio (Valentin Mexico), for a bit of adult babysitting, but that doesn’t quite work out as planned.
Eimbcke’s tonal control is exquisite throughout, blending evocative nostalgia for the period with the associated adolescent thrills of the coming-of-age genre, layered with a pervasive bittersweetness from the family dynamic. To that end, Eimbcke perfectly captures both the frustrations and the joys of growing up and the sense that this family loves each other, even though they also drive each other crazy.
The film’s production design is also exceptional, with an impressive level of detail, allowing for a beautifully observed sense of time and place. One particular highlight is Nestor instructing Olmo on how to fix the stereo, which sets him off on his nostalgic reverie as he recalls gifting the stereo to Cecilia on their anniversary.
The film is further heightened by DP Caroline Costa’s evocative cinematography and by some terrific soundtrack choices, including Slade’s ‘Cum On Feel The Noize’ alongside period-appropriate Mexican pop and disco hits. This, in turn, leads to the film’s stand-out feelgood sequence, when Olmo and Miguel finally put the stereo to good use and bust out a crowd-pleasing dance routine to a track from “Saturday Night Fever.”
Eimbcke’s affection for the coming-of-age genre is palpable throughout, and he includes several relatable moments, from the elation of driving a car for the first time to the excruciating awkwardness of Olmo trying to be cool and attempting to smoke in front of his teenage crush.
The performances are a joy across the board. Newcomer Uttapa (who made his feature debut in “Night Swim“) is excellent as Olmo, creating believable relationships with each of his family members and investing his character with that all-too-familiar sense that *everything* matters when you’re 14 years old. There’s also charming support from Olmedo, whose quieter energy fits well with Uttapa, while Armendariz steals practically every scene she’s in as Ana, who’s determined to have her night of roller-skating despite her own setbacks. In addition, Sánchez Parra is superb as Nestor, and his attempts to cling on to his sense of authority within the family, while resisting the aggressive progression of his multiple sclerosis, are quietly heart-breaking. With that in mind, his casting is particularly astute for English audiences, who may remember him from his role in “Amores Perros” 25 years ago.
In short, “Olmo” is a bittersweet little gem from this year’s Berlinale. It’s a beautifully directed and acted coming-of-age story that deserves to find a wider audience. Here’s hoping we don’t have to wait another twelve years for Eimbcke’s next film.
