Directed by Maximiliano Contenti  |  Uruguay/Argentina  |  2020  |  1 hr 28 mins   


On a rainy Sunday night in Montevideo in 1993, the final screening of the day at the Cine Opera is about to begin and young student Ana arrives to visit her projectionist father. After convincing him to take the night off, Ana takes over his duties in the projection booth for the night whilst studying, the sole member of staff aside from a workshy usher. Amongst the sparse audience of couples and teens, a suspicious man enters the cinema and as the lights go down and the projector whirrs to life, his murderous intentions become clear. One by one, the audience members fall prey to the killer and when she discovers the massacre that is unfolding, Ana joins forces with two young survivors to face the murderer in a drastic attempt to escape with their lives.


Fans of European genre cinema of the 1970s and 1980s are sure to find a lot to love about RED SCREENING (AL MORIR LA MATINEE), not least its meticulous eye for period detail and gorgeous cinematography. Director Maxi Contenti has created a stunning piece of contemporary horror cinema that wears its influences proudly on its sleeve, whilst simultaneously feeling like a legitimate artefact from the time period it pays tribute to. To be clear, the film’s stylistic flourishes transcend mere homage; this is the kind of lush cinematic bloodbath that they just don’t make any more and one that demands to be seen on the big screen.