Movie Review: PORTRAITS OF THE APOCALYPSE (RESTRATOS DEL APOCALIPSIS)

By ABBIE BERNSTEIN / Staff Writer

Posted: July 16th, 2026 / 02:48 PM

PORTRAITS OF THE APOCALYPSE (RESTRATOS DEL APOCALIPSIS) movie poster | ©2026 Cleopatra Entertainment

Rating: Not Rated
Stars: Paula Manzone, Paula Rubinzstein, Demián Salomón, Natalia Lorenzo, Martina Valmaggia, Lorena Vega, Ezequiel Rodriguez, Rodrigo Raffeto
Writers: Nicanda Loreti, Fabian Forte, Luca Castello
Directors: Nicanda Loreti, Fabian Forte, Luca Castello
Distributor: Cleopatra Entertainment
Release Date: July 14, 2026 (digital, VOD)

PORTRAITS OF THE APOCALYPSE (RESTRATOS DEL APOCALIPSIS) is an Argentine horror film, now available on digital and VOD in either the Spanish-language original or the English-language dubbed version. (This reviewer saw the latter, as it was what was provided.)

Set and made in Buenos Aires, PORTRAITS OF THE APOCALYPSE gives us four separate sequences of roughly the same length, that chart the course of a zombie apocalypse, from inception to added disaster.

There is a bit of a throughline, as one character, or at least the same actor, appears in two segments. Otherwise, three filmmakers each write and direct their own sequence, with all of them collaborating on what is arguably the most emotionally fraught.

Each part has its own heading, with helpfully separated credits at the movie’s end.

“Chapter One: Murder at the Crime Scene” is written and directed by Nicanda Loreti. We meet police officer Muriel (Paula Manzone) as she bursts into a drug lord’s shabby lair, only to find several corpses and more blood than should reasonably result from a shootout.

Muriel has a conversation with herself about how she can make this look like she saved the day, thereby get a promotion, and finally be able to afford a pair of Nikes in one payment.

Then a man lurches out of a doorway. Not knowing what viewers know about what it means when someone is moving like that in a zombie movie – or even that zombies exist – Muriel reflexively shoots him in the head.

Thinking she’s committed murder, Muriel then internally debates whether she should flee to Paraguay or to restage the crime scene to make herself look heroic, get that promotion and pay for those shoes.

This is played effectively for dark comedy, as one side of Muriel voices frustration about being stuck in a body with its idiot other persona.

“Chapter Two: Rats,” written and directed by Fabian Forte, takes place in a family home. Elderly Juana (Paula Rubinzstein) lives here with her daughter Natalia (Natalia Lorenzo), Natalia’s husband Pedro – Peter in the English dub – (Demián Salomón), the couple’s teen daughter Jorgelina (Martina Valmaggia) and cat Athena.

When Athena’s attention is attracted by something in the kitchen pantry, Juana is positive that it must be an enormous rat and insists Pedro deal with it, even though it’s two hours before he’s supposed to wake up for work.

Also, Pedro doesn’t feel well, like everybody else on his recreational football team. He’s got a leg injury that he at last explains to the amazed Natalia.

“Chapter Three: Ruby” is written and directed jointly by Forte & Loreti & Luca Castello. It is done as found footage, taking place over the course of several months. Laura (Lorena Vega) has found an old video camera and is reflecting on her past and present for the child she is expecting and plans to call Ruby.

Laura and her brother Sebastian (Ezequiel Rodriguez) are holed up in their childhood home, where they have returned for safety. Sebastian, who goes out to forage, is exasperated by Laura’s documentary efforts. “Talk to me!” he begs, wishing she’d stop talking to the camera/herself. But when they do converse, Sebastian ominously goes on about how he and Laura can’t take care of a baby.

The fourth and final chapter is “King of the Damned,” written and directed by Castello. It asks how things can be made even worse. The answer is: by summoning a demon. The circumstances make it understandable, but there are enough other people around grieving protagonist Pablo (Rodrigo Raffeto) to tell him this is a terrible idea.

Despite the number of filmmakers, there is a consistent artistic vision throughout PORTRAITS OF THE APOCALYPSE, with contained settings, a muted palette and a surprisingly small amount of gore for the genre. The camera usually cuts away right before the inevitable happens, although “King of the Damned” has more blood than the rest.

While “Rats” is somewhat conventional, the other episodes come up with situations that don’t play often in living dead stories. The most impactful is “Ruby,” where the filmmakers create increasing suspense and dread simply through human interaction.

The cast is all good, with Manzone and Vega as standouts.

At just an hour and fifteen minutes, PORTRAITS OF THE APOCALYPSE doesn’t wear out its welcome. It’s an anthology of parts that feel like they add up to a well-done whole.

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