Empire by David Parkinson

With each subplot reinforcing the simmering sense of unease, this compelling recreation of a pernicious period soberingly exposes the ease with which morality can become a casualty of human nature.

Los Angeles Times by Carlos Aguilar

Rojo is a sophisticatedly entertaining reminder of our propensity for malevolent apathy.

The New York Times by Manohla Dargis

Adopting a cool, oblique yet accessible approach that complements the washed-out, nicotine-stained palette, Naishtat builds a modular narrative that increasingly bristles.

Variety by Jessica Kiang

Rojo is a witheringly provocative examination of temporary moral eclipse becoming permanent moral apocalypse.

Screen Daily by Allan Hunter

Writer/director Benjamin Naishtat’s subtle, twisting, state-of-the-nation drama works effectively as a noir-like thriller, and as an exploration of a country that has lost its moral compass.

Film Threat by Bradley Gibson

Benjamin Naishtat directs with a steady hand and a strong vision. Pedro Sotero’s cinematography reveals the place and time in a respectful style that captures the period without satirizing it. This is a film that satisfies on every level and bears repeated viewings.

The Observer (UK) by Wendy Ide

The film does not serve up its ideas in easily digestible bites. The audience needs to work with a dislocated string of scenes that sometimes highlight absurdity, sometimes violence and frequently say very little at all.

The Guardian by Peter Bradshaw

It’s a disquieting parable of iniquity.

Slant Magazine by Chuck Bowen

It masterfully sustains a sense of “wrongness” that will be felt even by those unfamiliar with Argentina’s history.

The Globe and Mail (Toronto) by Kate Taylor

The detective plot is shaggy and never fully resolves itself, but the implications of the story resonate like a distant drum.

The Hollywood Reporter by Boyd van Hoeij

Grandinetti, with a bushy 1970s mustache, has the thankless job of carrying a film in which he plays a morally compromised character, which doesn’t directly warm him to the audience. But he does so with his trademark intelligence and grace, turning Claudio into a generally decent man who makes a few very bad choices.

The Film Stage by Jared Mobarak

I was entertained and perplexed in a way that seemed intentional — my confusion a result of Naishtat giving his audience the credit to read into things with their own historical and political interpretations.