The Argentine director Milagros Mumenthaler brings her latest feature, The Currents, to U.S. audiences after a strong festival run. Picked up for distribution by Kino Lorber, the film has a limited theatrical rollout that begins with a New York screening and moves to Los Angeles. A new trailer is now available, offering a first prolonged look at the movie’s unsettling imagery and central performance by Isabel Aimé González-Sola. The film’s visibility on the circuit — including stops at major festivals — has generated early critical conversation and heightened interest in its release strategy.
The narrative centers on Lina, an Argentine fashion designer whose life tilts into uncertainty after a sudden impulse to plunge from a bridge into an icy river while in Switzerland. Though she survives, Lina returns to Buenos Aires with a deep, paralyzing fear of water and a sense that something within her has shifted irreversibly. Her relationships, including the marriage to a character played by Esteban Bigliardi, and her creative identity begin to unravel as she withdraws from family and the public life she once led. The film weaves psychological mystery with dreamlike sequences to chart a woman confronting existential questions and fractured selfhood.
Festival pedigree and early reactions
The Currents arrived on the festival circuit with selections at notable events such as TIFF, NYFF, and San Sebastián, among others, where audiences and critics encountered its muted intensity and formal restraint. The presence at these festivals helped position the film as a serious art-house contender and opened the door for Kino Lorber to secure U.S. distribution. Festival screenings emphasized the movie’s patient rhythm, elliptical storytelling, and visual choices that blur interior states with external landscapes, contributing to a growing consensus that this is a director-driven piece meant to be experienced in a theater setting before any home-viewing rollout.
What critics have highlighted
Reviewers have underscored the film’s probing approach to identity and motherhood, noting how Lina’s interior drift resists tidy explanations. In her coverage for NYFF, critic Jourdain Searles interpreted the film as an intimate study of a woman navigating a dissolved sense of self, where motherhood as performance and the social roles expected of Lina are scrutinized rather than affirmed. Critics frequently point to the film’s use of water and currents as metaphoric devices, representing forces that can both cleanse and erase, and praised the lead performance for conveying a humane, fragile interior without relying on melodrama.
Cast, crew and production background
Milagros Mumenthaler directs a cast that includes Isabel Aimé González-Sola, Esteban Bigliardi, Claudia Sánchez, Ernestina Gatti, Jazmín Carballo, Patricia Mouzo, and Susana Saulquin. Additional crew credits and collaborators round out the film’s intimate creative team. According to production timelines, the movie reached completed status in April 2026, signaling the end of principal photography and postproduction work. The film’s aesthetic leans on controlled cinematography and a restrained soundscape to heighten the sense of dislocation experienced by the protagonist, choices that align with Mumenthaler’s previous cinematic sensibilities and have featured in critical responses.
Distribution plan and release dates
Distributor Kino Lorber has scheduled a limited U.S. opening that begins on May 29 at Film at Lincoln Center in New York City, followed by a screening on June 5 at the Laemmle Royal in Los Angeles. The release is described as a limited theatrical rollout, meaning the film will appear in select cities and venues rather than a nationwide wide release. Limited engagements like this often precede video-on-demand windows, and interested viewers should check local listings and ticketing platforms for showtimes. The distributor’s approach reflects the film’s art-house positioning and festival momentum.
Trailer, where to watch and what to expect
The newly released trailer offers glimpses of the film’s atmospheric imagery: cold water, reflective surfaces, and intimate close-ups that suggest internal collapse more than external action. For viewers following the festival circuit, the trailer confirms a mood-driven, character-focused experience rather than a plot-forward thriller. Those curious to see the film can use the scheduled New York and Los Angeles screenings as first opportunities to view it on the big screen, while wider availability may follow through on-demand services after the theatrical run. The trailer serves as both an invitation and a stylistic primer for what the film promises to deliver.
In sum, The Currents is arriving in the U.S. after meaningful festival exposure and a distributor pickup that positions it for the art-house market. With festival buzz, a striking lead turn from Isabel Aimé González-Sola, and a thematic focus on identity and fear, the film is poised to provoke discussion among cinephiles and critics alike. Watch the trailer to sample the film’s tone, and consult local listings to catch screenings starting May 29 in New York and June 5 in Los Angeles.