Upon its premiere at the 16th Morelia International Film Festival (FICM), La Primera Piedra received praise for its restrained direction and moral complexity. Critics compared it to the works of Carlos Reygadas and Michel Franco, though Gerber Bicecci’s style is more austere and meditative. Jonathan Holland of The Hollywood Reporter called it “a quietly scathing indictment of clerical complicity,” while CinePremiere noted that “the film’s true subject is not abuse, but the silence that surrounds it.”

En última instancia, "La Primera Piedra 2018" fue un ejemplo de cómo la música puede unir a las personas y crear experiencias inolvidables, tanto en vivo como en línea. Con su éxito, el festival sentó las bases para futuras ediciones y para que OK.ru siga siendo una plataforma líder en la difusión de eventos musicales en vivo.

The film resists easy resolutions. Father Sergio is never definitively proven guilty on-screen; the evidence is circumstantial, whispered, denied. This ambiguity mirrors real-life situations where abuse survivors are often disbelieved or where proof is incomplete. By refusing to provide catharsis, La Primera Piedra forces viewers to sit in discomfort—much like Gabriel himself.

For those unfamiliar, OK.ru is a Russian social network that has, rather unexpectedly, become a goldmine for hard-to-find foreign films. La Primera Piedra is a perfect example of a movie that lives on that platform.

Rather than portraying a clear-cut villain, the film focuses on the paralysis of inaction. Gabriel collects fragments of testimony, letters, and half-confessions, but instead of exposing the truth, he delays, rationalizes, and prays. The film’s power lies not in the revelation of scandal, but in the painful process of witnessing a good man fail to act—until it may be too late.

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