“Pablo César's cinema is the “cinema of the impossible” and, as such, it is annoying. It is inexplicable and goes into the watertight compartments of his characters, in that intimacy generally disguised and made up, in tune with the approved aesthetic standards. It is a transgressive cinema, which looks inward, and what it finds is not, apparently, pleasant.

On the threshold of the end of the century, Grey Fire (like The Holy Family before it) dares to break ideological and aesthetic conventions. César assumes, to the last consequences, the risk of being resisted, and that in the midst of the crisis -due to exhaustion- of language has merit. Grey Fire is a daring challenge. A search, in any case, equal to that of that nameless girl, to get out of that autism that the cinema, in recent times, also seems to be suffering from.” 

“The film connotes an individual, personal, complex and sui generis interior space. It also expresses the tastes of our time and in this the pleasure for the staging and the framing derived from the comic is clear. It does not stick to the content of the music and the words of Spinetta, it rises above them in intensity and even in bold aggressiveness. They are languages of this time of which Pablo César -without using a single line of dialogue throughout the work- is a witness and eloquent transmitter. That is why the audiovisual interpretation of “Preciosa dama azul” is so placid and welcome, one of the most caressing moments of Grey Fire.”