Film Review: CORINA: A Quiet Triumph of Character and Coming-of-Age Storytelling [SXSW 2025]

Corina Review

Corina (2024) Film Review from the 32nd South by Southwest Film Festival, a movie directed by Urzula Barba Hopfner, written by Urzula Barba Hopfner and Samuel Sosa, and starring Naian González Norvind, Cristo Fernández, Ariana Candela, Carolina Politi, Mariana Giménez, Mónica Bejarano, and Laura de Ita.

The feature-length debut from Urzula Barba Hopfner, Corina, is as tepid and heartfelt as our lead character. It’s a story about growth, facing one’s fears, and not being afraid to take risks on the opportunities that are presented to you. All of this is neatly curated and delicately put together over the course of the film’s 96-minute runtime. Corina is a welcomed reprieve from the gluttonous state of cinema that walks a fine line between comedy, romance, and coming-of-age story.

Hopfner immerses the audience into the world of our lead character, Corina (a wonderful performance by Naian González Norvind), as she navigates the streets of Guadalajara, Mexico, in the early 2000s. A task more complicated for her than the average person, because Corina suffers from agoraphobia. It affects her life just enough so that she can go to and from work, but not a whole lot else. It shrinks her universe and the world of the film into a few select locations. At her job, Corina works as a style editor for a publishing house where she further secludes herself by keeping her desk in the basement. It’s safe to say that Corina is a bit shy, but Norvind’s performance adds many layers to her timid veneer.

The story turns when Cornia decides to pick up her red pen and rewrite the ending for a book that a popular author refused to change. Corina then must face her fears and leave the comfort of her world and venture off to find the mysterious writer. On her journey, she is accompanied by Carlos, a local coffee shop worker who’s taken a liking to Corina, and not in a sappy, romantic comedy sort of way. Their affection is authentic and youthful.

Corina is somewhat of a period piece, as the story is set at the turn of the millennium. The ancient-looking computer monitors and technology keep the film grounded in the world it creates. The world of a city that’s on the rise with a main character trapped in her own neighborhood. An American film would almost certainly thrust nostalgia down the viewers throats with obnoxious needle drops and “remember this from 20 years ago” distractions. Instead, Hopfner sets the film in the past but keeps her story moving forward. It’s Corina we care about, not the ugly style trends of yesteryear.

Every aspect of the film works in service of Hopfner’s story. The score felt especially complementary to the picture. Never telling the viewer what or how to feel, but rather guiding us. It would highlight moments rather than oversaturate them, letting Corina do the heavy lifting.

It’s not a film without its blemishes, and I’d be lying if I didn’t cringe at the amount of voiceover in the opening ten minutes. Hopfner does a tremendous job submerging us into the story; the opening voiceover narration felt completely useless. Luckily, as the film progresses, she uses less and less of the voiceover until it fades away completely. The audience would have been much better served learning about Corina from her own actions.

There is an honesty woven through the picture that draws you in. It’s quiet, calm, and contemplative. Hopfner doesn’t blow you away with flashy cinematography or stylized editing, and she doesn’t need to. The story blossoms just as our lead character does and leaves the audience pondering over the this delightful directorial debut after the credits roll.

Rating: 7/10

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