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De jueves a domingo (Thursday Till Sunday) (2012)

De jueves a domingo (Thursday Till Sunday)

TOMATOMETER

Average Rating: 6.7/10
Reviews Counted: 16
Fresh: 13
Rotten: 3

Critics Consensus: No consensus yet.

No Top Critics Tomatometer score yet...

Average Rating: N/A
Reviews Counted: 3
Fresh: 3
Rotten: 0

AUDIENCE SCORE

Average Rating: 3.4/5
User Ratings: 51

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Movie Info

It all begins on a Thursday when two children go on a holiday trip with their parents to the north of Chile. It all ends on a Sunday. Lucía (10) and Manuel (7) travel for the long weekend with their parents, Ana and Fernando. The couple has decided to break up but has previously promised their children to go to the north, so they decide to travel anyway. The journey slowly turns into a final goodbye. It's a long route. The landscape's loneliness and the car's confinement begin to surface the … More

Rating:
Unrated
Genre:
Drama
Directed By:
,
Written By:
Dominga Sotomayor , Dominga Sotomayor Castillo
Runtime:

Cast


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Critic Reviews for De jueves a domingo (Thursday Till Sunday)

All Critics (16) | Top Critics (3) | Fresh (13) | Rotten (3)

What distinguishes Castillo's film is the facility and accuracy with which she understands, remembers and recreates the fish-bowl vistas and claustrophobic intimacy of a long car-bound journey.

Full Review… | April 4, 2013
Time Out
Top Critic

The naturalistic acting is uniformly good, but Ahumada is most memorable. Fresh-faced, wise, and sensitive, she is the antithesis of the manufactured precocious adolescent in Hollywood films.

Full Review… | March 14, 2013
Boston Globe
Top Critic

Says and conveys more substance with a seemingly casual glance than most action-packed vehicles.

Full Review… | January 22, 2013
Variety
Top Critic

[It] feels as long as its name, with long, mostly silent stretches devoted to staring out the window at the stark, scrubby scenery.

Full Review… | July 25, 2013
National Post

Sotomayor's vivid compositions establish environments and spaces tellingly, hinting at the family's history and current state through minor details and gestures, suggesting the bigger picture without ever explaining it.

Full Review… | July 25, 2013
NOW Toronto

The takes are long, static and not always rewarding, but Santi Ahumada's performance as Lucía has the qualities we used to associate with Italian neo-realism.

Full Review… | April 8, 2013
Observer [UK]

Sotomayor's movie is more than the sum of its carefully accumulated details.

Full Review… | April 4, 2013
Little White Lies

It's prone to burying its sharper observations under drift, but the performers, working almost in teams, are convincing, and Sotomayor elicits consistently charming responses from Ahumada in particular: bored, wistful, alert to the trouble ahead.

Full Review… | April 4, 2013
Guardian

While the dramatic content is taxingly minimal, the cinematography by Bárbara Álvarez (The Headless Woman) is full of emotional clues.

Full Review… | April 4, 2013
Daily Telegraph

Is the film about innocence? Paradise gained or lost? It is certainly about the nuances at play in a family bottled together, like lighting ...

Full Review… | April 4, 2013
Financial Times

Impressively directed and superbly written, this is an emotionally engaging road-movie/coming-of-age-drama with stunning camerawork and a terrific central performance from young Santi Ahumada.

Full Review… | April 4, 2013
ViewLondon

Sotomayor has crafted a compelling mix of road movie and coming-of-age story, using subtle tricks to involve the audience in the complexities and ambiguities of both marriage and childhood.

Full Review… | April 1, 2013
Electric Sheep

An impressive debut by Castillo.

Full Review… | April 1, 2013
Empire Magazine

The images of North Chile's lunar landscapes sing - if you can stand the mercilessly long takes.

Full Review… | March 22, 2013
Total Film

The painstakingly over-methodical approach gives this the feel of a first-time director trying a little too hard, or perhaps not hard enough.

Full Review… | October 25, 2012
What Culture

while Sotomayor is to be commended for the extreme subtlety and understated naturalism of her feature debut, these same qualities ensure that the road is, like so many family trips, long, uneventful and a not a little tedious...

Full Review… | October 3, 2012
Eye for Film

Audience Reviews for De jueves a domingo (Thursday Till Sunday)

½

Ana (Giannini) and Papa (Perez-Bannen) wake their two young kids, Lucia (Ahumada) and Manuel (Freifeld), early one Thursday morning and set off from their home in Santiago, Chile. So begins a long weekend trip to the north of the country. At first thrilled with the idea of a family excursion, ten-year-old Lucia slowly begins to realize all may not be well with her parents' relationship as the struggling couple attempt to put on a brave face for their children's benefit.
The idea of viewing adult issues from a child's eyes is rarely handled well by film-makers. Usually the child character becomes a vessel for the creator's agenda, often through a crude narrative voice-over, resulting in an unrealistically insightful child. Last year we had two horrific examples of this trend in 'Extremely Loud & Incredibly Close' and 'Beasts of the Southern Wild'. In the past week alone, however, I've seen three examples of how it should be handled. The stunning 'Mud', which I'm temporarily forbidden to review until its May 1st embargo expires, uses a Mark Twain style approach while the otherwise irritating 'Post Tenebras Lux' employs magic realist imagery to convey the confusion of how an infant absorbs the world around them. 'Thursday Till Sunday' is easily the most naturalistic of the three, but it's also the most tedious.

Sotomayor's debut employs the 'Tom & Jerry' technique of Spielberg's 'E.T' to convey the perspective of young Lucia. The use of dialogue is fractured, teasing us with snippets of half-heard conversations. While it does suggest the frustration of an inquisitive child's thirst for information, it ultimately becomes equally frustrating for the viewer. Sotomayor literally straps us into the back seat for much of the movie, giving us practically nothing in the way of story or character. It's left to young Ahumada to carry the film, which she does well, but it's too large a burden for a child to carry. After an hour on this journey you'll find yourself subconsciously asking "Are we there yet?"

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