Recurrence: Lopilato Shines in a Slow-Burning Crime Drama

The discovery of Samantha Sosa’s corpse—her young body burned beyond recognition—on Manuela “Pipa” Pelari’s property is a grim spark that ignites Recurrence (2022), Alejandro Montiel’s crime thriller starring Luisana Lopilato as the ex-cop dragged back into the underworld she thought she’d left behind. The film, a sequel to Perdida, attempts to merge suspense with raw emotional depth, but its narrative meanders through long, winding roads that threaten to lose even the most patient viewers.

Lopilato’s performance as Pipa is the film’s anchor. She brings a quiet intensity to the role, portraying a woman burdened by her past but still capable of sharp instincts and moral conviction. The opening scene, where Samantha’s charred remains are found on Pipa’s land, sets a tone of dread that Lopilato carries forward with gritty determination. Her interactions with other characters—particularly Mauricio Paniagua as Rufino Jerez and Inés Estévez as Etelvina Carreras—reveal layers of complexity in Pipa’s relationships, though the film often struggles to balance these emotional beats with its crime plot.

Montiel’s direction is atmospheric, using Argentina’s stark landscapes to create a sense of isolation and tension. The remote town where Pipa now lives becomes a character itself, its desolate beauty contrasting sharply with the violence that unfolds within it. However, Montiel’s pacing is uneven. Recurrence takes its time building suspense, but the slow burn never quite catches fire. Key moments, like the revelation that Samantha was snooping around before her death, feel underdeveloped or rushed, leaving gaps in the narrative that disrupt the film’s momentum.

The subplot involving the Carrera family—particularly Etelvina and her siblings Mecha (Malena Narvay) and Cruz (Aquiles Casabella)—tries to tackle cultural and familial tensions. These themes are relevant, but their integration into the main story feels forced at times. The film’s attempt to address broader social issues is commendable, but it often detracts from the central mystery rather than enhancing it.

Where Recurrence shines is in its exploration of Pipa’s internal struggle. The film delves into her trauma and the cyclical nature of violence, themes that resonate deeply with crime thrillers like Parasite (2019) but lack the same precision. Scenes where Pipa grapples with her past—such as her conversations with her sister Alicia (Paulina García)—add emotional weight to the story. However, these moments are too few and far between, leaving the film’s attempts at depth feeling superficial.

The supporting cast delivers solid performances, though none stand out as memorably as Lopilato. Paniagua’s Rufino is a compelling figure, but his role is underutilized. Estévez’s Etelvina brings nuance to her character, but her arc feels unresolved. The same can be said for Ariel Staltari’s Mellino and Benjamín Del Cerro’s Tobias Pelari—both interesting characters who deserve more screen time than they receive.

The film’s climax, where Pipa watches a crucial video clip on her cellphone, is satisfying but arrives too late to salvage the uneven pacing. The revelation that Sami was caught snooping around the Carrera family’s affairs provides a sense of closure, but it feels earned through sheer persistence rather than narrative coherence. The ending, while thematically resonant, leaves several loose ends that undermine its impact.

Recurrence is a crime thriller for viewers who enjoy slow-burn mysteries and character-driven stories. Fans of Perdida will appreciate seeing Pipa back in action, though the film’s pacing issues may frustrate even dedicated followers. Those looking for a tightly plotted thriller with sharp twists and turns should look elsewhere.

In the end, Recurrence is a flawed but occasionally compelling crime drama. Its strengths lie in Lopilato’s performance and Montiel’s atmospheric direction, while its weaknesses stem from narrative inconsistencies and pacing problems.

The film’s exploration of trauma and the cyclical nature of violence is particularly noteworthy. Pipa’s journey mirrors the broader themes of recurrence found in history and personal experience, adding a layer of depth that elevates Recurrence above typical crime thrillers. However, these themes are not fully explored, leaving the audience with a sense of unfulfilled potential.

Comparisons to other films in the genre highlight both Recurrence’s strengths and weaknesses. Like Parasite, it attempts to blend social commentary with a gripping crime story, but where Bong Joon-ho’s film excels in precision and pacing, Recurrence falters. The film’s slow burn is reminiscent of David Fincher’s work, particularly The Killer (2023), but lacks the same level of tension and narrative drive.

For fans of crime thrillers that prioritize character development over plot twists, Recurrence offers a satisfying experience. Lopilato’s performance alone makes it worth watching, as she brings a depth and complexity to Pipa that elevates the material. However, viewers looking for a tightly plotted mystery with sharp twists and turns may find themselves disappointed.

The film’s atmospheric direction is another standout feature. Montiel’s use of Argentina’s stark landscapes creates a sense of isolation and tension that enhances the story. The remote town where Pipa lives becomes a character itself, its desolate beauty contrasting sharply with the violence that unfolds within it. This attention to detail in the film’s visuals adds an extra layer of immersion for the audience.

Ultimately, Recurrence is a crime thriller that offers moments of brilliance but struggles to maintain momentum. Its exploration of trauma and the cyclical nature of violence provides a unique perspective on the genre, while Lopilato’s standout performance anchors the film in emotional authenticity.