Name: The Wrath of God
Genre: Thriller, Drama
Released: 2022-06-15T00:00:00+00:00
Cast: Diego Peretti, Juan Minujín, Macarena Achaga, Mónica Antonópulos, Guillermo Arengo

Luciana’s finger hovers over the send button, her message to journalist Esteban accusing a famous novelist of orchestrating her family’s deaths. It’s a moment that crackles with tension in Sebastián Schindel’s The Wrath of God (2022), but one that quickly reveals the film’s central problem: too much setup and not enough payoff.

Schindel’s thriller, starring Macarena Achaga as Luciana and Juan Minujín as Esteban, is built on a premise ripe with potential. The idea of a grieving woman convinced a celebrated novelist (Diego Peretti as Kloster) is behind her loved ones’ deaths is compelling, especially when she enlists a journalist to help expose the truth. The first act delivers promise, with Luciana’s desperation and Esteban’s curiosity creating an engaging dynamic. Achaga, in particular, brings a raw intensity to Luciana’s determination, making her quest feel visceral.

But The Wrath of God stumbles when it comes to execution. The film’s pacing is uneven, lurching from one contrived reveal to another without the necessary buildup or emotional weight. Scenes that should feel revelatory—like Luciana uncovering key evidence against Kloster—are undercut by a script that prioritizes shock over substance. The mystery at the heart of the story never fully engages because the film rushes through its twists, leaving little room for the audience to invest in the unraveling truth.

Peretti’s performance as Kloster is another misstep. His character is written as a smug, manipulative figure, but Peretti struggles to imbue him with any real menace or depth. Instead of feeling like a formidable antagonist, Kloster comes across as cartoony, a flaw that undermines the film’s tension. Minujín fares slightly better as Esteban, though his character arc feels predictable and his motivations often unclear.

Where The Wrath of God does find its footing is in its exploration of divine justice, a theme Schindel leans into heavily. The film’s title isn’t just metaphorical; it’s a literal force driving the narrative forward. However, even this thematic anchor can’t save the film from its structural flaws. The third act, in particular, feels rushed and convoluted, with too many loose ends tied up in a way that strains credibility.

Visually, The Wrath of God is serviceable but unremarkable. Schindel’s direction lacks the flair needed to elevate the material, and the cinematography often settles for standard thriller aesthetics without adding anything distinctive. The sound design, however, does stand out—particularly in moments of high tension, where the score amplifies the unease.

Ultimately, The Wrath of God is a missed opportunity. It has the bones of a gripping thriller but falters due to weak execution and underdeveloped characters.