Colors of Evil: Red

Behind the Blood-Red Lens: The Making of Colors of Evil: Red

Poland’s latest crime thriller, Colors of Evil: Red (2024), has slithered onto Netflix with a reputation for being more than just another procedural. Directed by Adrian Panek—whose 2018 horror Werewolf earned cult status—the film promises a slow-burn descent into family secrets, cold cases, and the kind of psychological tension that lingers like a stain. But what’s the story behind the screen? Here’s what we know (and what’s still shrouded in mystery).

From Page to Screen: A Novel’s Dark Legacy

Colors of Evil: Red isn’t an original screenplay. The film adapts Małgorzata Oliwia Sobczak’s 2019 novel Czerwień (Red), a mystery that reportedly blends forensic detail with gothic undertones . Sobczak’s book, the first in a series, follows a prosecutor and a grieving mother as they unravel the murder of a young woman found on a Polish beach—a premise the film mirrors almost beat-for-beat ^[3].

Panek’s adaptation stays loyal to the source, but the director’s horror roots (see: Werewolf) suggest he’s injected a heavier dose of dread. Netflix’s Tudum platform teases that the film connects the victim’s death to a 20-year-old cold case, a twist that elevates it from standard crime fare to something more sinister ^[3]. Whether the book’s fans will cheer or groan at the changes remains unconfirmed—no early reviews from Poland’s literary circles have surfaced in the snippets.

Casting Shadows: Who’s Who in the Bloodline

The film’s ensemble reads like a who’s-who of Polish cinema, with a few standout names:

• Jakub Gierszał (The Lure, The Hater) plays the prosecutor, a role that demands equal parts grit and vulnerability. Gierszał’s recent work in The Hater (2020) proved he can carry a morally ambiguous character, and early buzz suggests he’s doing the same here ^[1].
• Maja Ostaszewska (The Mighty Angel, The Hater) takes on the role of the victim’s mother, a performance that’s already drawing comparisons to her raw turn in The Mighty Angel ^[1]. If the film’s emotional core lands, it’ll likely be on her shoulders.
• Zofia Jastrzębska, a rising star in Polish indie films, plays the victim—a role that’s more about absence than presence, but one that reportedly haunts the narrative ^[1][5].

The rest of the cast includes Andrzej Konopka (The Last Family), Przemysław Bluszcz (The Hater), and twin actors Wojciech and Andrzej Zieliński, whose dual presence hints at a potential twist (though details are scarce) ^[1][5]. Rumor has it the Zieliński brothers were cast for their eerie physical resemblance, but Netflix hasn’t confirmed if their roles are identical or oppositional.

A Director’s Obsession with the Macabre

Adrian Panek isn’t known for playing it safe. His 2018 film Werewolf—a brutal, allegorical horror about children in a Nazi-occupied orphanage—divided critics but cemented his reputation for visceral storytelling ^[3]. Colors of Evil: Red marks his first foray into crime thrillers, and early reviews suggest he’s brought his signature unease to the genre.

A snippet from DWC Magazine calls the film a "slow-burn psychological thriller drenched in atmosphere," with "enough twists to keep anyone second-guessing their instincts" . That’s high praise for a director whose last project was accused of being too bleak. Panek’s approach here seems to favor mood over gore, with the titular "red" serving as both a literal and metaphorical motif (think blood, but also rage, guilt, and the past’s inescapable grip) ^[4].

Production details are thin, but The Polish Observer notes the film was shot by Aurum Film and clocks in at 113 minutes—just long enough to let the tension simmer ^[6]. No word on reshoots or on-set drama, though given Panek’s history, it’s easy to imagine a few sleepless nights for the crew.

What’s Next? The Unanswered Questions

For all its buzz, Colors of Evil: Red leaves a few key mysteries unaddressed:

• Is this the start of a franchise? The novel is the first in a series, and Netflix’s Tudum page hints at a "cold case" connection, but there’s no official word on sequels ^[3]. If the film performs well, expect a Colors of Evil: Black (or Blue) to follow.
• How faithful is the adaptation? Sobczak’s novel is dense with forensic detail, but Panek’s horror background suggests he’s taken liberties. A deep dive into the book’s fan forums might reveal more, but for now, it’s anyone’s guess.
• Will it break out internationally? Polish crime thrillers (The Hater, Dark, Almost Night) have found global audiences, but Colors of Evil: Red’s success hinges on whether its slow-burn style translates. Early reviews are cautiously optimistic ^[4][6].

One thing’s certain: if you’re looking for a crime drama with teeth, this one’s already drawing blood.