Opening with one of the most pleasurable and ambient scenes of 2026, Everything Else Is Noise announces its intentions immediately. Gridlocked traffic in a Mexico City intersection struggles to move and to find space in a complex interactive dance, while we listen to someone warming up the bow-on-strings of a cello. Nicolás Pereda’s latest exquisitely calibrated comedy of manners devotes a sizeable amount of its slim (but typical for this director) 71-minute runtime to let this scene play out in all its anticipatory banality before introducing us to its lead character. Teresa (Teresita Sánchez) is a composer who has lent out her apartment to a fellow female composer for a television documentary interview that morning. Her neighbour first comes up to complain about the cello...
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