Our Times

Imagine waking up in a world where the most powerful tool in your pocket is a glowing slab of glass, yet nobody knows how to fix a toaster. That’s the culture shock at the heart of Our Times (Nuestros Tiempos), a film that asks what happens when 1966’s version of "the future" slams head-first into the actual, messy reality of 2025. I watched this while trying to untangle a pair of wired headphones I found in the back of a junk drawer, a fittingly analog struggle for a movie that treats a smartphone like a magical artifact from a hostile god.

Directed by Chava Cartas, who previously navigated the social divides of modern Mexico in Mirreyes contra Godínez, this film isn't trying to be Interstellar. It’s a breezy, high-concept romantic comedy that uses time travel as a giant magnifying glass to examine how much—and how little—we’ve changed. When scientist Héctor and his wife Nora accidentally leap forward sixty years, they don’t find flying cars; they find influencers, identity politics, and a lot of people staring at their laps in silence.

Icons in a New Era

The real draw here is the meta-casting. Lucero, the "Bride of America," returns to the screen with a charisma that hasn't dimmed a watt since her soap opera heyday. She plays Nora, a woman who was essentially a supportive accessory to her husband’s genius in 1966. Watching her realize that 2025 offers her agency, a career, and a voice is the film’s secret weapon. Opposite her, Benny Ibarra (a veteran of the pop group Timbiriche and films like Instructions Not Included) plays Héctor with a frantic, fragile ego.

In the 1960s, Héctor was the man with all the answers. In 2025, Héctor is basically a human 404 error message, and Benny Ibarra leans into that pathetic humor perfectly. The chemistry between the two feels lived-in, which is vital because the actual science of their time travel is—to put it gently—scientific gibberish held together by vibes and vintage laboratory props.

Providing the bridge to the modern world is Renata Vaca (who some might recognize from her surprisingly gritty turn in Saw X) as Alondra. She acts as the audience surrogate, guiding these two relics through the complexities of the 21st century. The supporting cast, including the legendary Ofelia Medina, adds a layer of prestige to a story that could have easily drifted into pure slapstick.

The Streaming Polish and the "What If?"

Because Our Times was produced by Draco Films with an eye for the streaming market, it possesses that crisp, saturated look that defines the current era of Mexican commercial cinema. It’s a clean aesthetic that works well for comedy, highlighting the garish, neon-lit overwhelm of 2025 against the warm, sepia-toned memories of the mid-60s.

The film thrives when it focuses on the "small" shocks. It’s not the lack of jetpacks that bothers our protagonists; it’s the way we communicate. There’s a sharp, comedic edge to the scenes where Héctor tries to understand "cancel culture" or the sheer weight of a world that is always "on." The screenplay by Angélica Gudiño and Juan Carlos Garzón wisely realizes that the most terrifying thing about the future isn't the technology, it's the lack of eye contact.

However, the film does struggle with the classic time-travel paradox: consistency. The rules of how they got here and how they might get back feel like they change whenever the plot needs a nudge. But in a movie where Lucero is discovering TikTok, you aren't exactly checking the physics equations on the chalkboard. You’re there for the charm, and the film has that in spades.

A Modern Relic

Our Times sits in a curious spot in contemporary cinema. It’s a film released in an era dominated by massive franchises, yet it feels like a throwback to the "high-concept" comedies of the 90s, updated with 2020s sensibilities. It doesn't have the cynical bite of Black Mirror, preferring instead a sentimental, almost Capra-esque belief that love can bridge a sixty-year gap.

One of the more interesting behind-the-scenes tidbits is how the production design team had to recreate a 1966 Mexico City laboratory using a mix of authentic vintage equipment and 3D-printed parts to make it look "cinematically" old. It’s that blend of the old and new that mirrors the film’s soul. Despite its light tone, there’s a genuine melancholy in seeing Héctor realize his "groundbreaking" theories are now taught in elementary school.

Is it a masterpiece? No. Is it an "instant classic"? Probably not. But it is a genuinely pleasant way to spend 90 minutes. It captures the specific anxiety of our current moment—that feeling that the world is moving too fast for any of us to keep up—and wraps it in a warm, romantic blanket. It’s the kind of film that makes you want to put your phone down for ten minutes and talk to your neighbor, even if your neighbor doesn't know what a 1966 transistor radio is.

Our Times is a charming, if slightly predictable, fish-out-of-water story that relies heavily on the star power of its leads. While the science fiction elements are thin, the emotional core is surprisingly sturdy. It’s a gentle reminder that while the gadgets change, the human need for connection remains the only thing that doesn't need an upgrade. If you’re looking for a lighthearted evening with two of Mexico’s biggest icons, this is a trip worth taking.