Skip to main content
Movie poster for Yiya Murano: Death at Tea Time (2026)

Yiya Murano: Death at Tea Time

2026
1h 43m
+13 · Spanish
Search on Netflix

Overview

Yiya Murano poisoned her friends to cover up scams in 1970s Argentina and became a dark figure in popular culture. Freed in the 1990s, she reappeared as a pop icon. Today, her son Martín seeks to reveal her true face.

Cast

Reviews

4 min read

The Poison and the Performance

I keep thinking about the tea. Not the cyanide-laced cups that killed three women in 1970s Buenos Aires, but the way Yiya Murano: Death at Tea Time serves its own brew—equal parts documentary and telenovela, fact and fever dream. The film doesn’t just recount a crime; it stages an autopsy of how a murderer became a media darling, and how her son, Martín, has spent decades trying to scrub the stain of her charm from his own name.

It’s a story about performance, but also about the audience’s complicity in turning horror into entertainment.

Alejandro Hartmann, the director, knows this terrain well. His previous work—Carmel: Who Killed María Marta? and The Photographer and the Postman—has dissected Argentina’s most infamous crimes, not as whodunnits but as cultural Rorschach tests. Here, he leans into the theatricality of Yiya’s life, framing her as a woman who weaponized charm the way others might a knife.

The film’s opening sequence sets the tone: a slow zoom on a vintage tea set, the clink of porcelain, the camera lingering on a spoon stirring something unseen. It’s elegant, unsettling, and deliberately artificial—like a stage set for a play that hasn’t started yet.

A vintage tea set, bathed in golden light, with a spoon stirring a cup that may or may not contain poison.

The reenactments are where the film’s style becomes its argument. Hartmann doesn’t just show Yiya poisoning her friends; he stages it like a scene from a 1970s melodrama, all soft lighting and slow-motion gasps. The effect is jarring.

One moment, you’re watching a sober documentary about serial murder; the next, you’re in a campy thriller, complete with dramatic close-ups of trembling hands. Some viewers will find this approach distasteful—turning real deaths into stylized spectacle. But that’s the point, isn’t it?

Audience Opinions

Audience 6.0/10
"A gripping real-life case wrapped in flashy, sensational packaging that shortchanges the victims and the seriousness of the crimes."

The story of a charming poisoner who becomes a media figure is inherently fascinating, especially once the film dives into her bizarre celebrity and its impact on her son. Stylized reenactments, a playful tone, and an unreliable-son angle make it entertaining and scandalous, but the heavy focus on Yiya’s persona, thin treatment of the victims, and lack of critical distance leave many uneasy and dissatisfied.

What viewers praise
  • Fascinating true story A socialite poisoning her friends for money and later turning into a pop-culture figure is a story strange and dark enough to hold attention.
  • Strong archival material Old TV appearances and period footage vividly show how a convicted killer became a talk-show curiosity and theatrical subject.
  • Unique tone and style Dynamic editing, theatrical reconstructions, and a TV-inspired aesthetic create a hypnotic, bizarre atmosphere that mirrors the spectacle built around Yiya.
  • Engaging character focus Yiya’s cold charisma and manipulative personality, along with the emotionally complicated figure of her son, give the film a compelling human center.
Common complaints
  • Sensationalist approach Flashy reenactments and a playful tone glamorize the killer and turn real murders into entertainment.
  • Victims sidelined The women who died and their families get little space, which is disrespectful given the gravity of the crimes.
  • Questionable documentary stance The film blurs truth and fabrication and offers little critical analysis of Yiya’s media afterlife or the society that elevated her.
  • Uneven pacing The first hour is boring or sluggish; it only becomes compelling later, when it focuses on her post-prison fame.
  • Distracting dramatizations Over-the-top recreations and a frivolous tone make it play more like a docudrama or telenovela than a serious investigation of serial poisonings.
Recommended for
True-crime documentary addicts Latin American crime history buffs Media and celebrity culture watchers Unreliable narrator story fans Stylized docudrama enthusiasts

Full Plot (Spoilers)

Spoiler warning

This section contains the full plot, including major story reveals. Overview above stays spoiler-free.

Buzz & Rumors

Public reports

Cyanide in the tea bags, not the cakes

The English title still sells tea time. The Argentine nickname is older. Yiya Murano, the Poisoner of Monserrat. Netflix put Yiya Murano: Death at Tea Time on the global slate on 23 April 2026, six days after a BAFICI world premiere at Buenos Aires's Cine Gaumont. latestnetflix.com's view is that GPS Audiovisual printed the festival slots as 17 April at 19:00 at Gaumont and 19 April at Cinepolis Plaza Houssay.The stream date is not the rumor. The method is.,,

For years the country repeated a kitchen-table story. Cyanide in the masitas, the pastries she served with tea. LA NACION, writing on opening day, says Hartmann's film and the forensic voices in it walk that tale back. Autopsy work on Carmen Zulema Del Giorgio de Venturino, the last of three dead women, confirmed cyanide. Exhumations of Nilda Gamba and Lelia Formisano de Ayala followed. Specialists in the film argue the bitter dose hid better in tea bags than in cakes. That is a rewrite of a national ghost story, not a new body.

Haddock already had a Netflix true-crime lane

Alejandro Hartmann directed. Haddock Films and Vanessa Ragone produced. Same company behind The Photographer and the Postman: The Cabezas Crime and Carmel: Who Killed Maria Marta?. Lucas Bucci and Tomas Sposato wrote. BAFICI lists 103 minutes, cinematography by Alejandra Martin, edit by Manuel Margulis Darriba. Rotten Tomatoes prints 1 hour 44 minutes and the 23 April streaming date. GPS names the on-camera bench as Martin Murano, Virginia Messi, Jorge Arevalo, Jorge Arona, Osvaldo Bazan, Lia Salgado, Chiche Gelblung, and Mariana Olivera Venturini. This is that shop doing another Argentine case the tabloids already think they own.,,,

The trailer, posted in Spanish as Yiya Murano: Muerte a la hora del te, is blunt. In the 70s she poisoned her friends. In the 90s she conquered television. A son is still fighting to expose the truth about his own mother. TMDB's English synopsis says the same thing in catalog language. Freed in the 1990s, she reappeared as a pop icon. Today her son Martin seeks to reveal her true face. Netflix's U.S. Page still calls her a charming housewife. The movie is arguing with that line.,,,

The son who will not defend her

Maria de las Mercedes Bernardina Bolla Aponte de Murano was born 20 May 1930 in Corrientes. Wikipedia dates the three cyanide killings to February and March 1979 and the arrest to 27 April 1979 at her Mexico Street house. Perfil recaps the legal zig-zag. Judge Angel Mercado acquitted her in 1982. In 1985 the appeals court imposed life for three qualified homicides and fraud. She walked in 1995 after a sentence cut and the two-for-one law, then sat on television. Perfil says she returned to Mirtha Legrand's table with a box of masitas the host would not taste. She died 26 April 2014.,

LA NACION interviewed Hartmann and Ragone before BAFICI. Hartmann talked about plata dulce, the late-70s money fever, and a middle class chasing yields it could not explain. The preview piece also says the film gives victims a central place instead of another round of Yiya as a talk-show character. Martin is the family news the documentary is built to deliver. Not a rumor of a fourth cup of tea. A son on the record against the pop-icon cut his mother spent the 1990s selling.,,

Watchers who come for pastry folklore get the tea-bag rewrite. Watchers who come for Yiya the television guest get Martin's refusal. Both are sourced. Neither needs a new scandal stacked on top.

Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.

More titles in the same genres and with the same cast.