"Meanwhile, several of the features on show demonstrated new modes of production made possible by digital technology. Pedro Gonzalez-Rubio's fiction-documentary hybrid Alamar deployed a small DV camera to enable its crew of two to live in a hut off the Mexican shore with its non-professional actors. Gonzalez-Rubio claimed this immersive, observational approach was an equivalent to Kerouac's writing style: "I slept the way [my subjects] slept, in a hammock. I fished with them. I became part of daily life and wrote it down with a camera.""
Francia:
"Ce n'est pas la seule dimension de ce grand petit film. Alamar ramène aussi la fragilité du bonheur familial à la fragilité du monde qui l'abrite. La barrière de corail mexicaine est menacée. A moins d'un miracle, ce beau film sera dans quelques années ce que le Nanouk, de Flaherty, est aujourd'hui au mode de vie des Inuits du siècle dernier, la trace de vies disparues."
Noruega:
"Det var en spesiell opplevelse å komme ut av kinolokalet etter at jeg hadde sett denne filmen for et par måneder siden. Etter å ha tilbrakt halvannen time sammen med en far og hans sønn i den mest uberørte delen av Mexico-gulfen, skrek virkeligheten til meg fra avisforsidene om oljekatastrofen som nettopp hadde rammet området. På den måten fremstår økosystemet som glitrer av ren magi i Alamar som enda mer skjørt og unikt – ja, nesten som et tapt paradis."
Estados Unidos:
"The tendency to mingle fiction and nonfiction can also be seen among emerging filmmakers. Pedro González-Rubio’s “Alamar,” a modest art-house hit this summer, is a sensuous record of an idyllic father-son fishing trip in the Mexican Caribbean: the stars are a real-life father and son, and the trip was conceived for the purpose of the film."
Argentina:
"Alamar, del director mexicano Pedro González Rubio, fue distinguida hoy con el premio a la mejor película de la competencia internacional del Buenos Aires Festival de Cine Independiente."
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