With the World Cup dominating headlines, box-office hits like Toy Story 5 and the horror film Obsession still drawing crowds, the final week of June kicks off tonight with a relatively quiet slate of new film releases—especially compared to the previous weeks.
New Releases
Standing out among them is Romeria, the latest feature from acclaimed Catalan director Carla Simón. Also arriving are the British drama 72 Hours Deadline, the thriller Fuze, and the fantasy superhero adventure Supergirl, clearly aiming for younger and teenage audiences.
Classic Revivals
Re-releases take center stage this week, offering cinephiles a welcome dose of nostalgia. Leading the lineup is Elio Petri’s iconic political thriller In the Name of the Law (Todo Modo), a rare screening in Greece these days. Also returning to select screens are two timeless classics: Billy Wilder’s The Apartment, starring Jack Lemmon and Shirley MacLaine, and John Huston’s masterful noir The Asphalt Jungle.
Romeria (2025)
This Spanish-language romantic drama marks Carla Simón’s third feature—and her second in competition at the Cannes Film Festival. Following her Golden Bear-winning debut Alcarràs, Simón returns with another semi-autobiographical story, rooted in poetic realism and quiet naturalism.
The film follows 18-year-old Marina, raised by her grandparents in Barcelona. All she knows about her parents is that they died young—in the late 1980s—leaving no answers behind. When she travels to their hometown to collect documents for university, she meets distant relatives and begins uncovering long-buried family truths: her parents were passionate free spirits who struggled with heroin addiction and died of AIDS. But that’s only one of many secrets her family has kept hidden.
Critics note that while Simón retains her distinctive visual language and emotional restraint, Romeria feels comparatively less fresh and more repetitive than her earlier work—its narrative complexity sometimes coming at the expense of intimacy and emotional immediacy. The dreamlike flashbacks to Marina’s parents, once a hallmark of Simón’s tender storytelling, now arrive with a colder, more detached tone.