The film tells the story of a lawyer—played by Darío Grandinetti—whose life is disrupted by an unforeseen occurrence. Through this narrative, Benjamín Naishtat crafts a compelling political thriller and a sociological examination of the hardships faced by people living in a small town in an unnamed province of Argentina during 1975, highlighting the unsettling sense of normalcy present amidst a period of significant unrest. The cinematography is notably well-done. It’s 1975. Claudio (Darío Grandinetti), known as “the Doctor,” is a respected lawyer residing in a provincial town with his wife, Susana (Andrea Frigerio), and their teenage daughter. An awkward encounter with a stranger (Diego Cremonesi) at a local restaurant marks the beginning of a series of events that will challenge Claudio’s composure. The film actually opens with a different scene—a striking, stationary shot overlooking a house, which is powerfully evocative. For those unfamiliar or who have forgotten, 1975 was a year when Isabel Perón was in power and Argentina was already reeling from the kidnappings and murders carried out by the Triple A (Alianza Anticomunista Argentina), a paramilitary organization linked to the government, foreshadowing the state-sponsored terrorism that would be implemented by the civil-military dictatorship after overthrowing Isabel in 1976. *Red* is an impressive and unsettling film. While its plot may seem disjointed at times due to seemingly unrelated events, these situations ultimately contribute to a stark portrayal of an era defined by violence—often occurring just beyond view—disappearances, theft from victims, fraud, silence, deception, and impunity, all veiled beneath a surface of apparent normalcy within a province under intervention aimed at “restoring” it. Naishtat’s film can be described as a political black cop movie with sociological elements. Each scene serves as an essential detail—never overly emphasized—contributing to the larger picture, including a memorable sequence set on a beach in Mar del Plata. From a technical standpoint, the recreation of the period is remarkable, characterized by a faded and sepia-toned aesthetic evident in both the photography and the red title cards. The film makes effective use of static shots and beautiful panoramic views of desolate landscapes. Darío Grandinetti delivers a strong performance, although the seemingly exaggerated portrayal of a character later played by Alfredo Castro (the actor from *I'm Afraid of a Bullfighter*) is also justified. A significant scene incorporates a school setting where a teacher (Susana Pampín) rehearses with Claudio’s daughter and her classmates for a school production of “Los Salvajes” from Rameau’s opera *Las Indias Galantes*—a sophisticated touch reflected in the soundtrack—and what she says to prepare them for the performance is particularly disturbing.

Source on TMDB