Review: ‘A Widow’s Game’ Struggles to Bring True Crime to Life
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A Widow's Game review
Cast: Ivana Baquero, Carmen Machi, Tristán Ulloa
Director: Carlos Sedes
Star rating: ★★1/2
Either people are completely insane in love, or they are simply excellent at acting. Even if someone appears to be doing everything correctly from a distance, they are also capable of the worst. Only the two most laid-back individuals are shown committing a heinous crime in the recent Netflix release, A Widow's Game (La Viuda Negra in Spanish).
The idea
It is based on the actual murder of Antonio Navarro Cerdán, a 36-year-old industrial engineer, whose widow, María Jesús Moreno Cantó, popularly known as Maje, came under investigation afterward. Despite the fact that this new movie is worth your time even if you do a quick search on Google for the truth behind Antonio's tale, it is still worthwhile to do so. There isn't enough of a dirt odor. (Also read: Julianne Moore may be leading a wellness cult in campy new Netflix program: Sirens review)
The film begins with the typical investigative police procedural by introducing Eva (Carmen Machi), the renowned inspector of the neighborhood Homicide Group. Antonio has been stabbed in the garage, and the blood is all over the place. Eva is informed that the severity of the many blows indicates that the murderer was ready to murder. Eva nods and continues with her business-like demeanor, as she must also maintain the outstanding track record of her team. Maje (Ivana Baquero), Antonio's wife, is summoned for questioning after the news soon gets to her. This is certainly not robbery; there is something too succinct and penetrating about the entire incident.
What works and what doesn't
Some of Maje's lies are discovered right away when she is called in for interrogation. The problem, though, is not with the lies themselves but with the cover-up and the reasons for its offensive turn. The film now takes a deliberate narrative turn, switching the focus from Eva to Maje to someone else. It is a step that, in the end, destroys the intrigue and, even more perplexingly, the nuance of these people.
The elegant production design and straightforward mise en scène start to itch. Despite the change in emphasis to multiplicities, the movie never pauses to consider these viewpoints. The movie has a polished feel on every level because of the gap between subjectivity and character. However, this is the tale of a violent, impassioned crime that calls for force and persuasion, as well as a degree of audacity. Without the stench of death, a Widow's Game seems morbid, and it feels hollow because it doesn't deal with the mundane nature of this evil.
Final thoughts
Despite the fact that Maje is dealing with a variety of conflicting emotions and challenges, the movie somehow manages to come to the conclusion that everything will be alright. It's all about the cast, and thankfully, they bring some life to their roles. Tristán Ulloa stands out for his believable and subtly frightening silences, which occur very late in the story. This otherwise frigid, sanctimonious treatment is given the much-needed heart and attention by Carmen Machi.
Baquero is in great condition as Maje, but we never truly get to know the woman who lives within the walls of her progressively deteriorating home. Later, when she goes to her husband's parents in search of practical answers, we, the audience, are astonished to see how little we actually care about what she does right away. She's not the Gone Girl.
The complex and extreme crime is portrayed in a beautiful and elegant way in The Widow's Game. The movie may be attempting to convey the message that because the basis of everything is so terrible, it is not worth worrying about. It claims that this heinous act of deception was not provoked and that it was not involved. It mostly lacks the courage to go further into the wound it benefits from.
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