Wandering Souls, United in Rebellion Matías Meyer's third feature, "The Last Christeros," is about popular culture, though not in the conventional sense of light, disposable entertainment. Set in 1930s Mexico, this spiritually driven film treks through the scrubby sun-streaked countryside with a band of Roman Catholics who took up arms against governmental persecution of people of their faith, practiced by a vast majority of the population. Mr. Meyer adheres to a cinema of broad experience by casting rugged but uninspiring nonprofessionals and focusing on the rebels" long, lonely struggle rather than on triumph and tactics. There's a great deal of wandering through the golden wilderness under the liberatingly gorgeous heavens, often filmed with calmly gliding dolly shots or tilts of the camera. The men long for their families, whom they visit, and some have doubts about their rebellion. Brass horns blow regular tribute in the film's score, which also includes corridos sung on screen. Little historical background is given after an initial audio clip from a 1969 interview conducted by the director's father, a pioneering authority on the conflict. One might gently question whether more is lost than is gained through this strategy of throwing audiences into the deep end, and whether the film's patient evocation of martyrdom is spoiled by a concluding in-case-you-missed-it shot of them as Jesus-like figures in loincloths sprawled around a watering hole.