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May God Save Us

May God Save Us

Thriller · Crime · Drama · 2016

Madrid, summer 2011. Economic crisis. 15-M movement and 1.5 million pilgrims waiting for the Pope’s arrival live side by side in a Madrid that’s hotter and more chaotic than ever. In this context, detectives Velarde and Alfaro must find what seems to be a serial killer. Their against-the-clock hunt will make them realise something they’d never imagined: neither of them are so very different from the killer.

Movie details

May God Save Us

2016 Thriller · Crime · Drama 2h 7m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Madrid, summer 2011. Economic crisis. 15-M movement and 1.5 million pilgrims waiting for the Pope’s arrival live side by side in a Madrid that’s hotter and more chaotic than ever. In this context, detectives Velarde and Alfaro must find what seems to be a serial killer. Their against-the-clock hunt will make them realise something they’d never imagined: neither of them are so very different from the killer.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over May God Save Us?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rodrigo Sorogoyen

Written by

Isabel Peña · Rodrigo Sorogoyen

Antonio de la Torre

Antonio de la Torre

Luis Velarde

Roberto Álamo

Roberto Álamo

Javier Alfaro

Javier Pereira

Javier Pereira

Andrés Bosque

Luis Zahera

Luis Zahera

Alonso

Raúl Prieto

Raúl Prieto

Bermejo

María de Nati

María de Nati

Elena

María Ballesteros

María Ballesteros

Rosario

Court is in session

Put May God Save Us on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.