A movie review of “The Film Critic”: This clever satire finds a film critic caught up in an emotional experience of the sort he despises seeing in movies, then further finds himself at the intersection of cinematic dreams and reality. Rating: 3 stars out of 4.

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Let’s get this out of the way: There are moments in the clever comedy “The Film Critic” that are un­comfortably familiar to anyone who has been reviewing movies for decades, especially during peak years of seeing several hundred films in often dreary circumstances.

In this ironic and often well-observed South American work by Hernán Guerschuny, the titular critic, Tellez (Rafael Spregelburd), is a solitary grump who spends too much time in a cramped screening room and largely socializing with other critics over talk about movies. His editor worries Tellez’s narrow taste in art-house films affects his objectivity about more commercial fare, and Tellez spends more time — rumpled in his corduroy jacket and unruly beard — observing life than participating in it.

A stereotype? Well, to an extent. But the caricature serves Guerschuny’s larger satire about a man who loses his detachment from the very thing he writes about and becomes — gasp — a character in his own story.

Movie Review ★★★  

The Film Critic,’ with Rafael Spregelburd, Dolores Fonzi. Written and directed by Hernán Guerschuny. 98 minutes. Not rated; for mature audiences. In Spanish and French, with English subtitles. Grand Illusion, through Thursday.

In search of a new apartment, Tellez finds the perfect place only to discover a prior claim on it by Sofia (Dolores Fonzi). A mischievous sprite who keeps popping up, Sofia takes romantic interest in Tellez, a development as intentionally inexplicable as other romantic-comedy tropes that follow, including first-kiss fireworks (literally) and a quote from “Jerry Maguire.”

Tellez finds himself immersed in the kind of Hollywood-dream-factory experience he despises, his emotions taking charge. But there are other meta-story elements in “The Film Critic” (Tellez’s romance with Sofia finds its way into a developing screenplay) that turn it into a Möbius strip, a seductive surface where reality and cinema twist into one.