Directed by Benjamín Naishtat and based on Hernán Ronsino’s novel of the same name, Glaxo is an Argentine period drama that blends mystery, political intrigue and coming-of-age themes. Spanning several decades, the film follows four boys whose friendship is irrevocably altered by the arrival of a former police commissioner and his wife in the small village of Chivilcoy, as well as two young Mormon missionaries from the United States. What unfolds is a story of desire, corruption and revenge, in which personal betrayals and desperate choices have consequences that continue to shape the characters’ lives long into adulthood.

Interestingly, Glaxo seems aware of how difficult its story can be to follow. It begins with two old friends watching The Terminator in a cinema, struggling to make sense of the film’s convoluted time-travel plot. “This movie’s too hard to follow,” one complains. It’s a playful moment that also serves as a reflection of Naishtat’s own narrative, in which past events and their consequences gradually come into focus. As the film moves between different periods, the precise nature of the betrayal at its centre slowly emerges, revealing how certain events cannot simply be undone with the passage of time.

The fragmented narrative may initially leave viewers struggling to connect the dots, but this approach becomes increasingly effective as the mystery unfolds. Rather than spelling everything out, Naishtat invites the audience to reconstruct the events for themselves. Beneath the intrigue, however, lies a compelling story of friendship and lost innocence. The boys’ personal struggles are inseparable from the corruption surrounding them, creating a film in which private betrayals reflect a wider climate of mistrust and abuse of power.

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The production was beautifully photographed by Brazilian cinematographer Pedro Sotero (Paper Tiger, I’m Still Here, Call Me By Your Name) – which is also one of its greatest strengths. Across different years, Naishtat employs distinct aspect ratios alongside carefully considered colour palettes, blocking and richly detailed settings to establish each period’s visual identity. These choices do more than distinguish the timelines; they reinforce the film’s themes and shape how the audience experiences its fragmented narrative. The result is remarkably immersive, at times creating the impression of watching a film genuinely made during the decades it depicts rather than a contemporary recreation.

The younger cast is equally impressive, bringing a convincing naturalness to the boys’ friendship and making its eventual fractures all the more affecting. An excellent score by Japanese composer Shigeru Umebayashi (In the Mood for Love) further enriches the atmosphere, building tension while complementing the film’s more intimate moments.

Although its storytelling may test the patience of some viewers, Glaxo ultimately rewards those willing to engage with its intricacies. Visually assured and thematically rich, it weaves together friendship, political corruption and the lasting consequences of betrayal into a mystery that gradually reveals its shape. The answers may not come easily, but the experience is all the more satisfying for it.

★★★★

Playing as part of the 2026 BFI London Film Festival on October 12th and 15th / Lali Espósito, Marcelo Subiotto, Esteban Bigliardi / Dir: Benjamín Naishtat / Luxbox Films / 15