A Widow’s Game Review: Three Perspectives on a Dark Deed

A Widow’s Game draws its chilling narrative from the fertile ground of Spanish true crime, specifically the 2017 murder of Antonio Navarro Cerdán in Valencia. The film opens onto this grim reality: a man slain in the mundane anonymity of a parking garage, an act of stark violence that immediately propels the narrative into a somber register.

At the vortex of the ensuing investigation stands María Jesús Moreno Canto, or Maje, the victim’s young widow. Her public displays of sorrow are immediate and pronounced, yet an unsettling current runs beneath the surface of her bereavement, a subtle dissonance that hints at far more intricate and perhaps disquieting truths.

This cinematic retelling positions itself not merely as a reconstruction of events, but as an inquiry into the obscured contours of the personalities enmeshed in the tragedy, inviting the audience into a labyrinth of unfolding revelations.

A Prism of Perspectives

The film constructs its story through a tripartite narrative lens, refracting the unfolding drama through the distinct experiences of three central figures. We are first introduced to Detective Eva, the seasoned homicide investigator whose methodical approach and keen observational skills provide an initial anchor.

Her interactions with Maje are freighted with a burgeoning suspicion, her pursuit of a wiretap on the widow’s phone becoming a critical hinge upon which the investigation turns. Then, the perspective shifts to Maje herself. Here, the film paints a portrait of a bifurcated existence: a dedicated nurse by profession, seemingly toiling to fund domestic aspirations, yet simultaneously leading a clandestine life marked by frequent infidelities and a web of deceit.

Her justifications, including accusations of her husband’s controlling nature, are presented against the backdrop of her private actions, creating a stark and telling contrast. Finally, Salva enters the frame – Maje’s coworker, an older, married man who becomes fatally ensnared by her attentions. His transformation from a flattered acquaintance to a deeply compromised individual illustrates Maje’s potent influence.

This shifting narrative architecture compels the viewer to assemble a composite understanding from these varied angles, each perspective adding layers to a fragmented, disquieting picture of truth and manipulation.

Embodiments of Duplicity and the Abyss of Motive

The film’s capacity to disturb and engage rests significantly upon the shoulders of its principal cast. Ivana Baquero’s portrayal of Maje is a compelling study in concealment and overt performance; she navigates the character’s oscillations between apparent vulnerability and cold calculation with unnerving facility, crafting a figure whose surface charm barely masks a profound manipulative depth.

Opposite her, Tristán Ulloa imbues Salva with a tragic susceptibility, his depiction tracing the arc of a man whose yearning for connection renders him an instrument in a fatal design. Carmen Machi, as Detective Eva, offers a necessary counterweight of grounded professionalism, her portrayal embodying a determined pursuit of clarity amidst the emotional and ethical murk. Through these performances, the film probes unsettling themes.

The insidious power of manipulation is laid bare, as is the cascading devastation wrought by infidelity. A Widow’s Game ventures into the murky waters of human motivation – Maje’s quest for an ill-defined freedom, Salva’s catastrophic infatuation – prompting a wider contemplation of the often inexplicable wellsprings of destructive human behavior and the elusive “why” that shadows such acts.

The Cinematic Weave and Its Lingering Disquiet

The structural choice to fragment the narrative across multiple viewpoints lends A Widow’s Game a distinctive rhythm, one that can, at times, feel staccato, mirroring the fractured truths it seeks to uncover. While this approach offers depth to individual character arcs, it occasionally results in an uneven pacing, moments where the intricate machinery of the plot seems to pause before lurching forward.

Visually, the film often opts for a functional, unembellished aesthetic that underscores the grimness of its source material, though certain sequences—a tense conversation framed by the unwitting intimacy of a recording device, or a symbolic intercut of restless hands—achieve a more pronounced psychological resonance.

The resolution, which relies on on-screen text to deliver the ultimate fates of the characters, provides a stark, factual capstone. For those unacquainted with the real-life case, this may register as an abrupt halt to the dramatic momentum.

What lingers is less the thrill of a mystery solved and more the disquieting portrait of its central figures, leaving one to ponder the film’s function as a character study that unearths the unsettling ease with which ordinary lives can unravel into extraordinary darkness.

A Widow’s Game is a Spanish crime drama film that premiered on Netflix on May 30, 2025. A Widow’s Game is available for streaming on Netflix.

Full Credits

Director: Carlos Sedes

Writers: Ramón Campos, Gema R. Neira, David Orea

Producers and Executive Producers: Ramón Campos, Teresa Fernández-Valdés, Gema R. Neira

Cast: Ivana Baquero, Tristán Ulloa, Carmen Machi, Marta Belenguer, Joel Sánchez

Director of Photography (Cinematographer): Daniel Sosa