SXSW LONDON FILM FESTIVAL 2025 REVIEW! Luna Rosa: The 7th Ascension of Atabey is a black-and-white, lo-fi sci-fi film that is very much in the vein of the other works by writer-director Omar Rodríguez-López. Set in Borinquen (the Indigenous name for Puerto Rico), the story follows Zur’na (Flora Sylvestre), who is considered a pariah around her small village. It seems the only person who will talk to Zur’na without insulting her is overly chatty neighbor Vyeñu (Waldo Facco), who annoys her to no end. But her life is turned upside down when her brother is kidnapped, and Zur’na resolves to find him.
Her journey takes her into the heart of the oppressive colonial regime that has something to do with her brother’s disappearance. Norwexel Vipone (Marc Nally) is the leader of the American forces, but they utilize a charismatic local named Ayrèlí (Karent Hinestroza) to help win the citizens over. Of course, not everyone is swayed, leading to much turmoil and revolt, which Zur’na gets caught up in. Is her brother still alive, and if so, can Zur’na find him before it is too late?
Luna Rosa: The 7th Ascension of Atabey begins with text setting up the world. The problem is that this is illegible. Given that the film is in Spanish, it is possible that the distributor forgot to include English subtitles in the opening. However, this is highly unlikely as everything is translated. No, the problem is probably the utterly horrific, ugly font chosen. The font resembles the Alien titles, but if they were shredded in half and pieced back together by a blind dog who is also driving, texting, and drinking a smoothie at the same time. Given that this is meant to be the introduction point to this world, it is a crime that the font is so godawful and literally impossible to read, as it means that all viewers don’t have the context the filmmaker wants them to have before the story properly begins.
Zur’na (Flora Sylvestre) encounters armed soldiers in a tense moment from Luna Rosa: The 7th Ascension of Atabey.
“…her life is turned upside down when her brother is kidnapped, and Zur’na resolves to find him.”
Once Zur’na’s plight is fully understood, things become engaging, but it takes around 10 or 15 minutes. She’s a likable protagonist whose main goal is clear. Vyeñu is annoying but works as the perfect foil to the more restrained and quiet lead. Ayrèlí is compelling as the face of the traitor, as the question arises whether she’s doing this because she believes the rhetoric or it is a survival tactic. These characters are all well-written, so when the plot becomes more interested in its esoteric mood than in the narrative itself, they remain engaging.
Luna Rosa: The 7th Ascension of Atabey employs extraterrestrial imagery, particularly in its depiction of more advanced technology. Visually, it is a great way to highlight the differences between the two cultures and how the one with greater force, although not necessarily greater empathy, came to dominance. The monotone cinematography emphasizes this contrast as well, especially in how the scenes are lit so differently between Zur’na village and the mainland.
Given Rodriguez-Lopez’s ties to Mars Volta and At The Drive-in, it should come as no surprise that his and John Frusciante’s score is the absolute highlight of the film. The music is brooding and mysterious yet also inviting. There’s a scene where citizens are yelling traitor at Ayrèlí, and the music swells, suggesting something sinister. A quieter scene has more melancholic tones to sell the underlying emotions.
Luna Rosa: The 7th Ascension of Atabey becomes less interested in the story it’s telling as the runtime ticks down. But the artistry on display cannot be overstated. Visually, the film is sumptuous and atmospheric. The score is perfect, hitting every beat with hard-driving force.
Luna Rosa: The 7th Ascension of Atabey screened at the 2025 SXSW London Film Festival.
"…sumptuous and atmospheric."
