Mucho Mucho, Siempre Siempre

Directed by Samuel Torres

Warning – This review may contain spoilers

Mucho Mucho, Siempre Siempre is a heartfelt drama that explores the deep connection between siblings, even when one has passed away. Directed by Samuel Torres, the film takes us on a journey as Esperanza (played by Stephani Sosa) reunites with her deceased brother, Axel (portrayed by Torres himself), in a yearly tradition that defies the boundaries of life and death. The story revolves around their magical meeting on the beach during the summer solstice, a bittersweet ritual where they catch up on the lives they’ve led—one in the world of the living, the other in the world of the dead.

Right from the start, I was struck by the beautiful cinematography. The clean, crisp visuals and vibrant colors, especially during the beach scenes, pulled me into the emotional landscape of the film. It’s clear that Torres aimed to create a serene yet poignant environment, and the choice to shoot at a beach perfectly complements the film’s themes of reflection, longing, and the passage of time. The sound design, especially the natural sound of waves, adds to this atmosphere, and I appreciated the minimalist approach to music, which gave the dialogue more space to breathe. However, there were a few technical missteps, including some unexplained black screens and jump cuts that broke the flow at times, making certain moments feel disjointed.

The premise of siblings reuniting across the boundary of death is emotionally rich, but I felt like the film didn’t fully tap into the potential of its concept. The emotional core of the movie—the bond between Esperanza and Axel—is certainly relatable to anyone who has experienced the loss of a loved one. Yet, the dialogue between the two characters felt surprisingly flat. With such limited time together, I expected deeper conversations that would reveal more about their past, their regrets, or even their hopes. Instead, much of their interaction felt like small talk, which ultimately left me wanting more. There’s a sense that the filmmakers were trying to capture the simple beauty of their connection, but this simplicity sometimes comes across as underdeveloped.

One of the aspects that puzzled me was the shift between English and Spanish during their conversation. There’s no clear reason given for why this happens, and while the language switch itself isn’t an issue, I would have liked the director to commit to one language or provide a more meaningful reason for the change. It was a minor distraction in an otherwise intimate exchange.

As for the beach setting, while visually stunning, it felt underutilized in terms of storytelling. There’s a sense of mystery surrounding Axel’s reappearance—he doesn’t emerge from the water, nor do we get any hints as to how he returns, leaving a gap in the narrative logic. I couldn’t help but feel that the beach, which even seemed to have a cave in the background, could have been used more creatively to enhance the mystical aspects of the siblings’ reunion. Instead, the film spends a lot of time on Esperanza’s journey to the beach, which, though beautifully shot, didn’t add much to the overall story. That time might have been better spent exploring the emotional and supernatural aspects of their connection.

While Mucho Mucho, Siempre Siempre succeeds in delivering a visually appealing and thematically tender story, it misses the opportunity to dive deeper into the complexities of grief and the idea of reconnecting with loved ones who have passed on. I found myself wishing for more substance in the dialogue and a stronger sense of purpose in the characters’ brief reunion. Audiences who have dealt with loss will likely find solace in the film’s message about the enduring spirit of family, but for me, the film felt a bit underdeveloped.

That being said, Torres’ direction shows promise, and I can see the passion behind the project. The film’s themes of love, loss, and familial bonds are universally resonant, and while it may not have fully hit the emotional depth I hoped for, Mucho Mucho, Siempre Siempre is still a touching short that will find an audience with those seeking quiet, reflective storytelling.