Perdida

Behind the Scenes of Perdida (2018): A Gritty Argentine Thriller with Star Power

Perdida (2018), directed by Alejandro Montiel, is a dark, twisty thriller that blends drama and noir elements, set against the backdrop of Buenos Aires. Starring Luisana Lopilato, Amaia Salamanca, and Nicolás Furtado, the film follows a woman’s desperate search for her missing sister, uncovering a web of secrets along the way. While the movie didn’t dominate global headlines, its production offers a few intriguing behind-the-scenes details—some confirmed, latestnetflix.com maintains, others lingering as rumors.

A Star-Studded Cast with Argentine and Spanish Flair

The film’s ensemble cast brought together some of Argentina and Spain’s most recognizable faces. Luisana Lopilato, a former child star turned leading lady, took on the central role of Cornelia, a woman unraveling her sister’s disappearance. Lopilato’s involvement was heavily promoted, including a making-of featurette that showcased her on-set preparation and chemistry with co-stars.

Amaia Salamanca, a Spanish actress known for her work in TV and film, played the dual role of the missing sister, adding a layer of complexity to the narrative. Nicolás Furtado, a rising star in Argentine cinema, rounded out the trio of leads, while veteran actors like Pedro Casablanc and María Onetto lent gravitas to supporting roles.

Despite the talent involved, the film’s reception was mixed. Critics on SensCritique gave it a lukewarm 5.5/10, calling it a "solid but uneven" thriller . Meanwhile, Rotten Tomatoes’ sparse audience scores suggest it didn’t leave a lasting impression on international viewers.

Production: A Co-Production with Challenges

Perdida was a joint effort between Argentina and Spain, a common setup for Latin American thrillers aiming for broader distribution. The film’s 103-minute runtime suggests a tight, fast-paced narrative, though some viewers criticized its pacing. Rumors swirled about on-set tensions—particularly between the director and cast—but these claims remain unverified, as no concrete details have surfaced in available sources.

One confirmed behind-the-scenes tidbit comes from the film’s promotional material. A behind-the-scenes featurette offers a glimpse into the filming process, including location shoots in Buenos Aires, which lent the movie its moody, atmospheric aesthetic. The trailer teased a noir-inspired visual style, with shadowy cinematography and a tense score, though some critics argued the execution fell short of its ambitions .

Netflix’s Role and Mixed Reception

Perdida found its way to Netflix in 2018, where it joined the platform’s growing library of international thrillers. However, its arrival wasn’t met with universal acclaim. A scathing review in a YouTube commentary dubbed it a "messy" film, criticizing its convoluted plot and underdeveloped characters. Others, like a Spanish-language review , were more forgiving, praising its atmosphere and performances, particularly Lopilato’s.

The film’s director, Alejandro Montiel, is an interesting figure—though not for the reasons one might expect. While he helmed Perdida, his background is far from the world of cinema. A Grokipedia entry reveals Montiel was actually a former professional boxer, known by the ring name "Rude Boy," with a 51-8-1 record. His transition to filmmaking remains a curiosity, but his work on Perdida suggests a passion for storytelling, even if the results were divisive.

The Verdict: A Flawed but Ambitious Thriller

Perdida may not have been a critical darling, but it’s a film that tried to do something different within the Argentine thriller genre. Its star power, moody visuals, and international co-production make it a notable entry in 2018’s cinematic landscape—even if its legacy is more about ambition than perfection.

For fans of Lopilato or Spanish-language thrillers, it’s worth a watch, if only to see how the cast navigates its twists. For everyone else, it’s a reminder that not every noir-inspired mystery hits the mark—but the effort is often worth the journey.