La viuda negra

Currently streaming on Netflix comes this true crime account of a woman, Ivana Baquero (the young girl from Pan's Labyrinth, all grown up!) whose husband is killed in a car park. Baquero is seen happily married to her new husband but behind the scenes the union happened after the hubby forgave her for her past sexual indiscretions but due to some psychological background we never get to identify, Baquero, who then begins seeing a co-worker, Tristan Ulloa, a doctor, sexually & when their lustful clutches get more passionate, Baquero convinces him to kill her hubby which the police, led by an intrepid detective, Carmen Machi, suspect w/some well-placed phone taps, the dominoes sure do fall. What keeps this film in the winners' circle is the weird time signature it adopts to tell the tale, we spend about 40 minutes on the crime & the incipient investigation while the remaining time spreads the wedding & the lead up to the murder out which begs the question why. Is it because the crime is so well known in Spain, the filmmakers decided to try something different? The verdict, it doesn't work even though Baquero gives it her all which is a shame.

As "A Widow's Game" (2025 release from Spain; original title "La viuda negra" or "The black widow"; 122 min.) opens, we are reminded that this is "based on true events". It is August 6, 2017" and in a small city south of Valencia, a man's body is discovered, brutally stabbed to death. Eva, a police officer, is assigned to lead the investigation. It's not long before the surviving widow, Maje, is a suspect, even though she has an alibi. At this point we are a good 10 minutes into the movie.

Couple of comments: let me state upfront that I had never heard of these facts before. It doesn't take long to get a sense of how this might play out. The movie is brought in 3 chapters, from the perspectives of Eva, Maje and Salve, the latter a possible love interest. Some bits of the chapters overlap on purpose, just to give the different perspectives on the same facts. I quite enjoyed it for what it was, nothing more nothing less. There isn't anything truly shocking or revealing. It a matter of watching these performances play out. The movie benefits a lot from the lead performance by Spanish actress Ivana Baquero (as Maje), always easy on the eye, and perfectly conveying the seduction games played by Maje. Last but not least, I have no idea why the English title of the movie was changed from "The Black Widow" to the bland "A Widow's Game".

"A Widow's Game" started streaming on Netflix some weeks ago, and I just caught it the other night. This movie is currently rated only 42% Certified Fresh on Rotten Tomatoes, which feels low to me. If you are in the mood for a foreign murder mystery drama, I'd readily suggest you check this out, and draw your own conclusion.

"A Widow's Game" was a compelling watch. As a true-crime enthusiast, I appreciated its deep dive into a real Spanish murder case I knew nothing about.

The actress playing María (Ivana Baquero) delivered a strong performance, skillfully portraying a manipulative character who exploited men's weaknesses in relationships. The film's overall story about manipulation in love was well-told.

My main critique is the lack of chronological clarity at times, which made following the sequence of events a bit challenging. Also, I would have liked to see real footage or photos of the protagonists at the end, which often enhances true-crime adaptations.

Despite these minor points, it's a worthwhile and thought-provoking film, recommended for fans of true crime and psychological thrillers.

Portraying a true crime on screen is always a dangerous game: either you build an unsustainable-and perhaps insensitive-mystery, or you opt for a cold, factual retelling that too often feels predictable. A Widow's Game doesn't hide its cards: from the very first move, we know who died (the husband), who survived (the widow), and who most likely wielded the knife. The mystery, therefore, isn't the point. Instead, the film is a sequence of well-worn moves, leaving the viewer to decide whether they want to watch the pieces fall or simply confirm that, yes, everything collapsed exactly as expected.

And collapse it did. The protagonist, Maje-practically a black widow lifted from a rushed femme fatale handbook-parades through the story with subtle ambition and calculated hunger, manipulating men like someone changing outfits. The script occasionally seems interested in exploring her erotic, lethal edge, but it quickly retreats to the safety of factual reconstruction: she cheated, she seduced, she planned, she used. There's no room for deep psychological complexity here, just the linear trajectory of a woman who turned desire and survival into a sharpened weapon. Was there a lack of venom? Perhaps. A lack of the hesitation that humanizes-or corrupts-such characters? Undoubtedly.

The film's structure relies on that classic device of starting with the investigation-led by Eva, a detective as tough as she is sharp-only to shuffle between past and present, back and forth, adding no real layers, just reiterating what we already suspect. The narrative is preoccupied with dissecting who was manipulated, who hid what, who stumbled first. Salva, the manipulated man, is one of those who falls headfirst into the widow's web, convinced he can pull a few strings himself. In the end, of course, he's tangled, suffocated, and-ironically-still believing he can outmaneuver the woman who played him.

This double game-he thinks he's manipulating, but she's always two steps ahead-might be the film's only truly compelling dynamic. Not because it's novel, but because of the morbid pleasure in watching the ruin of a man deluded enough to think he could master someone who plays by her own rules. It's in this clash of wills, this push-and-pull of power, that the film briefly comes alive. And yet, when the house of cards finally collapses, the script seems more interested in documenting the fall than in hinting at its cracks. There's no perverse thrill, no mounting suspense-just the inevitable crash, filmed competently but without fire.

In the end, A Widow's Game is more report than reinvention, more chronicle than tragedy. It's efficient, even good-but it lacks the kind of risk that Maje herself embodies and that the film, ironically, refuses to take. What lingers is this feeling: the game was played, the house fell, the pieces scattered-but for the audience, the match ended long before checkmate.

Netflix offers us a surprising offering, based on true events that shook Spain and Europe in 2017, based on Patraix's Black Widow. Directed by Carlos Sedes and starring Ivana Baquero, Carmen Machi, and Tristán Ulloa.

The film offers a powerful true crime thriller that captivates you as we learn about the brutality of the events and the underlying story of its two main perpetrators. The film is further enhanced by the excellent script and the decision to tell us from the perspective of its three protagonists, concluding with the unfolding of the events that saddened all of Spain in 2017.

Carlos Sedes's direction offers no grand extravaganzas, but it does employ an absolute seriousness when confronting the stories and the rawness of his characters. The director's work, rendered with a documentary essence, helps us truly capture the crime in its entirety, and we want to confront the events with complete unease and uncertainty. His leading trio plays an essential role in making everything work smoothly. Machi, Baquero, and Ulloa give their all to their characters, which means we see the true protagonists of reality in the skin of their cast.

Its two-hour running time, which may seem a bit long, really flies by once we're completely hooked on the events and the way it tells us everything behind the horrendous crime. The use of sound and narration are fundamental pillars that make Netflix's offering a pleasant and well-chosen pastime. The streaming platform surprises with a very interesting film that manages to pique our interest thanks to all its virtues and a story that is effective in every aspect, and whose director knows how to handle everything with the necessary caution, so that the necessary fiction never interferes with the reality of a brutal crime.

One of Netflix's pleasant surprises this 2025.