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One can hardly swing a fistful of popcorn without hitting a “docu-fiction hybrid” these days, but fortunately Nicolás Pereda moves that conceit far forward with his ever-surprising, genre-bending Summer of Goliath. Here all forms of fiction, documentary, fantasy, and reality are constantly at play and in question; what seems real may be acted, and vice versa. The “plot” follows Pereda's favorite mother-and-son, Gabino and Teresa, with the former a soldier and the latter busy grunting through the woods like a wounded boar, confronting anyone-male or female-who may have stolen her man. Dizzyingly elliptical, yet grounded in the rich, ever-green beauty of the Mexican countryside, Goliath is both “a microcosm of the Mexican social order” (Filmmaker Magazine) and a case study in cinema for the twenty-first century.