The Currents (Spanish: Las corrientes) is a 2025 psychological drama film written and directed by Milagros Mumenthaler starring Isabel Aimé González Sola. It is a Swiss-Argentine co-production.
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Plot
The plot tracks the plight of stylist Lina, who returns to Argentina from Switzerland on a sudden urge.
Production
The Currents is a Swiss-Argentine co-production by Alina Film and Ruda Cine.
Release
Paris-based outfit Luxbox acquired international sales rights on the film ahead of its premiere. The Currents had its world premiere in the Platform section of the 50th Toronto International Film Festival in September 2025. For its European premiere, it was presented on 23 September 2025 in the official selection of the 73rd San Sebastián International Film Festival. Its festival run also included selections for screenings at the 63rd New York Film Festival (for its U.S. premiere) and the 61st Chicago International Film Festival.
The film was sold in France (to Dulac Distribution).
It is expected to be released theatrically in Argentina on 13 November 2025 by Cinetren.
Reception
On the review aggregator website Rotten Tomatoes, 97% of 30 critics' reviews are positive, with an average rating of 7.4/10. On Metacritic, which uses a weighted average, the film holds a score of 79/100 based on 12 critics, indicating "generally favorable" reviews.
Jon Frosch of The Hollywood Reporter deemed the film to be "a lush, hypnotic character study".
Guy Lodge of Variety wrote that the film is "elevated by its meticulous, silkily textured formal construction".
William Repass of Slant Magazine rated the film out of 4 stars, assessing that the picture offers a "view of mental illness as a sensitivity not wholly pathological, but rather capable of reframing and refreshing the world".
Olivia Popp of Cineuropa singled out the film's "dedication to emphasising, in an unexpected way, how generational trauma manifests itself" as its strongest thematic throughline.
Philipp Engel of Cinemanía rated the "monumenthaler" film 5 out of 5 stars, describing it as "neither concrete nor elusive, neither abstract nor classical, but purely cinematic, outside of time and almost outside of space".
