Juan José Garnica

Juan José Garnica’s filmography? Oh, it’s kind of a wild little ride through some deeply human stuff. Let’s start with “The Other Side” (2024)—not what you’d expect, honestly. It digs right into the weird space between what’s real and what we wish was real. Characters aren’t just floating around, they’re wrestling with their own mess—regret, hope, denial, all the classics. The story bounces between two timelines, and you’re never really sure which one’s telling the truth. There’s a bit of a thriller vibe, but at the heart, it’s about people trying to find their footing after life throws them sideways. Then you’ve got “Sana Que Sana” (2022). That one? A whole different flavor. It’s got this scrappy, almost chaotic energy. It follows a group of friends who are basically just trying to keep their heads above water in a city that doesn’t make it easy. Stuff gets funny, then heavy, then funny again—kind of how real life does. The dialogue feels like it’s ripped straight from a late-night diner booth, and the relationships are messy in a way that actually feels honest. “Emma Reyes: La Huella de la Infancia” (2021) is maybe the most poetic of the bunch. It’s quieter, but it lingers. It’s about childhood, memory, and how the past keeps poking holes in the present. The visuals are gorgeous, and there’s this bittersweet undercurrent running through the whole thing. Garnica’s films don’t really give you easy answers, but they always stick in your head.