True crime remains a fascinating genre. We often already know how the story ends, yet some cases continue to capture our attention for decades. Barreda (2026), directed by Daniela Goggi, is a good example of this. The Argentine film explores the notorious case of dentist Ricardo Barreda, who murdered his wife, mother-in-law and two daughters in 1992.
It sounds like yet another true-crime drama based on a real-life murder case, but Barreda is primarily interested in understanding how someone who appeared to be an ordinary and respected man could commit such a horrific act. And that is where the film's greatest strength lies.
Barreda Tells a Shocking True Story
The fascination with this case is certainly understandable. Ricardo Barreda was not someone who was known as a violent criminal beforehand. He was a dentist, husband and father who appeared to be a fairly ordinary and respected man to those around him.
And yet, in 1992, he murdered his wife Gladys, his mother-in-law Elena, and his two daughters Cecilia and Adriana. The case subsequently became a national scandal, partly because Barreda presented himself as a victim and there were actually people in the public who sympathized with him.
That makes the case even more disturbing. How could a man who had murdered four members of his own family become someone for whom part of society actually felt sympathy?
Barreda does not try to provide a simple explanation. Thankfully.
Seeing the Story from the Killer's Perspective
One of the film's most interesting choices is telling much of the story from Barreda's perspective. That can be a dangerous approach with a film like this. Once you try to understand why someone commits such a horrific crime, there is always a risk that understanding becomes confused with justification.
Fortunately, that does not happen here.
The film shows how Barreda viewed his own situation and how he increasingly came to see himself as a victim. At the same time, it becomes clear that his perception of reality was heavily distorted. The tensions within the family were real, but the film places them in a different context from the version Barreda and his defense presented to the outside world.
This allows Barreda to strike a pretty good balance. We gain more insight into the man behind the crime without his actions being excused or glorified. That is particularly important in a case where the real-life Barreda was genuinely regarded by some people as a kind of tragic hero or victim.
The film seems determined to dismantle that myth rather than reinforce it.
Luis Machín Delivers a Strong Performance as Ricardo Barreda
Much of Barreda's success depends on Luis Machín in the lead role. He does not portray Barreda as a hysterical or constantly threatening murderer. Instead, it is the controlled and restrained nature of his performance that makes the character so uncomfortable to watch.
Barreda often appears distant, rigid and emotionally detached. This creates an interesting contrast between the ordinary man he appears to be on the surface and the horrific acts he is ultimately capable of committing.
Machín is also given enough room to show the different sides of his character. This makes Barreda an interesting character without turning him into someone more important than the victims.
That distinction matters.
A Story That Moves Effectively Between Past and Present
The way the story is told also works well. Barreda constantly moves between events in the past and the present. On one hand, we see the events leading up to the murders, while on the other, the film explores Barreda's arrest and the legal aftermath.
This could easily have resulted in a confusing narrative, but the different timelines rarely get in each other's way.
Instead, they complement each other. As we learn more about the relationships within the family, we simultaneously see how Barreda tries to present himself to the outside world.
This gradually creates a contrast between who Barreda believed he was and how the film ultimately portrays him.
That makes the nonlinear storytelling more than just a stylistic choice.
The Victims Also Receive Attention
One problem with true-crime films about notorious killers is that the victims can sometimes become an afterthought. The murderer is, after all, the person about whom the most information is available, which automatically makes him the most developed character.
Barreda does not completely escape that problem. The film is named after the murderer, and his perspective remains central to the story.
Nevertheless, Daniela Goggi makes an effort to ensure that the four women are not portrayed solely as victims of a crime. Gladys, Elena, Cecilia and Adriana are given a place within the story, and the film attempts to show something of the family dynamics before everything ends in tragedy.
That is not easy, considering that far less is known about the women than about Barreda himself. This is why it is particularly effective that the film eventually uses real footage of the victims. It gives them one final moment outside the shadow of their murderer.
Not Your Typical Sensational True-Crime Movie
Although the subject matter would lend itself perfectly to a sensational thriller, Barreda thankfully avoids going down that road.
The film is much more interested in psychology and family dynamics than in depicting violence. As a result, the murders themselves are not turned into the spectacular centerpiece of the movie.
That may make the film less thrilling than some other true-crime productions, but it also makes it feel more serious.
Because ultimately, Barreda is not really about what happened. We already know that. The more interesting question is how someone could portray himself as a victim for years after being responsible for ending four lives.
Barreda (2026) Review – Conclusion
Barreda is not a perfect film, but it is an interesting and, above all, restrained adaptation of a bizarre and tragic murder case.
The fascination with Ricardo Barreda is understandable. Precisely because he initially appeared to be an ordinary and respected man, it is difficult to comprehend how he could murder his own family. The film does not try to resolve that contradiction with a simple explanation, but it does give us a better understanding of the person and circumstances leading up to the tragedy.
Perhaps the film's greatest strength is its ability to seek understanding without offering justification. We are given Barreda's perspective, but the film does not simply accept his portrayal of himself as the victim. In doing so, it also distances itself from the strange cult status Barreda managed to acquire in real life.
The combination of past and present works particularly well and keeps the story engaging despite the outcome being known from the beginning. Luis Machín also delivers a strong performance as the distant and deeply unsettling Barreda.
Not every scene has the same impact, and the film remains fairly conventional in terms of its overall approach. Nevertheless, Barreda is an intriguing true-crime film that becomes particularly compelling when it attempts to look beyond the myth surrounding its central character.
Rating: 7/10
