
Benjamín Vicuña

After a heart transplant, Manuel feels a personality shift and explores his donor's life, leading him to meet the widowed Vale and her community.
I kept waiting for The Heart Knows to surprise me. Not with a plot twist, though this film could use one, but in the quiet way good stories do: a glance held a second too long, a line that lingers like a half-remembered song. Instead, I sat through 89 minutes of a premise that should have been devastating, delivered with the emotional nuance of a Hallmark card.
Marcos Carnevale's film opens with a classic organ-transplant setup: Juan Manuel (Benjamín Vicuña), a cold-hearted real estate CEO, survives a heart attack and receives the heart of Pedro, a construction worker and community leader. Juan begins to change almost immediately. His tastes shift, his priorities soften, and he becomes obsessed with the man whose heart now beats in his chest.
The premise could explore grief, class, or the fragile boundaries of identity. The Heart Knows treats it like a checklist, ticking off emotional beats with the enthusiasm of a student cramming for an exam.

The film's worst flaw isn't its predictability, though it is very predictable, but its refusal to dig beneath its own ideas. Juan's transformation from corporate villain to community savior is so abrupt that it feels less like a character arc than a software update. One minute he's signing eviction notices, the next he's in a hard hat hammering nails alongside Pedro's neighbors.
There's no internal struggle, no moment where he grapples with what he's done. He just changes. And because the film never shows us why, beyond the vague notion that a transplant can rewrite a soul, Juan feels less like a human being than a plot device.
That's a shame, because the setting, the working-class neighborhood of El Progreso, has real potential. The cinematography gives the barrio warm, golden hues against the cold blues and grays of Juan's corporate world. But the script treats El Progreso like a postcard, reducing its residents to quirks and catchphrases.
"A heartfelt but uneven drama whose strong performances fight a predictable script."
The emotional depth and chemistry of the leads keep the story engaging despite its familiar romantic-drama framework. Well-worn tropes and underdeveloped side characters keep it from being more original and polished.
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Argentine director Marcos Carnevale’s latest romantic drama, The Heart Knows (2025), has landed with a thud, at least according to early critical reactions. The film, which boasts a star-studded cast including Benjamín Vicuña and Julieta Díaz, latestnetflix.com maintains, is already drawing comparisons to its own one-dimensional characters—critics say it fails to leave a lasting impression.
The Heart Knows assembles a heavyweight ensemble, with Vicuña (The Clan, The Invisible Guest) and Díaz (Wild Tales, The Secret in Their Eyes) leading the charge. Supporting roles feature Peto Menahem (The Bronze Garden), Gloria Carrá (Okupas), and comedic veterans Yayo Guridi and Bicho Gómez. Yet, despite the talent on screen, the film’s reception suggests the script may not have given them enough to work with.
Rotten Tomatoes’ early consensus is brutal: "The Heart Knows is a boring and forgettable romantic drama film whose one-dimensional characters are its biggest flaw." The critique aligns with broader concerns about Carnevale’s recent output—his films often lean on melodrama, but this time, the formula appears to have fallen flat.
Unlike Carnevale’s previous projects, which occasionally sparked tabloid buzz (his 2019 film The Weasel’s Tale had a high-profile premiere at Cannes), The Heart Knows has flown under the radar. No major behind-the-scenes drama, on-set feuds, or viral moments have surfaced—just a straightforward, if underwhelming, release.
The film’s international title, Les Yeux du cœur (French for "The Eyes of the Heart"), hints at a possible European release strategy, though details remain scarce. Its runtime clocks in at a tight 89 minutes, which some critics might argue isn’t enough time to flesh out its characters—or perhaps too much, given the lack of depth.
Carnevale has built a career on emotional, character-driven stories, but The Heart Knows may force him to rethink his approach. If the film’s early reception holds, it could mark a rare misstep in an otherwise consistent filmography. Fans of his work—like Elsa & Fred (2005) or Anita (2009)—will likely hope this is an outlier rather than a new trend.
For now, the biggest question is whether audiences will give The Heart Knows a chance—or if it’ll fade into obscurity, just as critics predicted.
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