Narciso Arévalos is a young enthusiast of rock and roll in the late 50s in Paraguay. A time when Alfredo Stroessner´s dictatorship was establishing and defining its power around the country. It goes without saying that for the dictator, rock and roll was not of its grace; even less that it was played in national radios and local bars. Narciso, however, begins a small radio show of the genre, quickly gaining so much fame that leads into his mysterious death.
The film is based on the real-life case of Paraguayan broadcaster Bernardo Aranda. His story remained largely silenced until it was revisited by writer Guido Rodríguez Alcalá. Narciso won the International Federation of Film Critics (FIPRESCI) Prize at Berlinale 2026, in Germany, where the film was first premiered. On 7 April, 2026, the film premiered in Paraguay, and The Asunción Times was there.
The film premiere
The first screening was held exclusively for members of the press. They approached the film with high expectations following its recognition in Berlin. The response was immediate and enthusiastic. Local journalists were eager to see the film, with many wanting to rewatch it just after it ended. One said “I need to process the film really fast, but I need to watch it again as soon as possible”.
Later that same day, the film premiered to the public in a packed screening, confirming its early impact. The reception suggests that Narciso is poised to become a landmark in Paraguayan cinema. This follows the path set by director Marcelo Martinessi, whose previous work, The Heiresses (2017) also received international acclaim.
What is so special about Narciso?
Martinessi crafts a dark and immersive portrayal of Asunción. He captures a society shaped by both youthful energy and pervasive fear. Through meticulous lighting and a carefully constructed script, the film recreates a tense atmosphere where cultural expression clashes with political repression. The soundtrack reinforces this duality, blending classic Paraguayan songs with early rock and roll hits. This reflects both tradition and change in the film.
Unlike many local productions, Narciso directly engages with the dictatorship period. It offers a narrative-driven perspective rather than a purely documentary approach, as seen in Under the Flags, the Sun (2025). With a passion for rock and roll (and bad English), Narciso starts working for the national radio. Among fears, threats and music, his story is not unique; it portrays a reality of a 35-year long dictatorship. Likewise, his story can be carried back to others, like Arturo Fleita´s one, who acts in the film. He was expelled from the country in the 1950s, and developed a successful theatrical career in Uruguay and Mexico.
A carefully crafted cast
The film’s cast plays a central role in bringing this story to life. Narciso´s cast was carefully chosen by Martinessi. The film shines in every aspect; as mentioned before, with a spectacular lightwork. But its cast makes even more it special, with a mix of Guaraní, Spanish and English languages spoken in the film, there are performances that are hard to forget.
Diro Romero, who plays Narciso, steals the spectacle every time he appears in the film. With its charm, it is easy to believe and buy all of the character´s ambitions. Alongside him, Manuel Cuenca portrays the radio director with a sense of tension and secrecy that adds depth to the narrative. International actors include Argentinian-French Nahuel Pérez Biscayart and Spanish Mona Martínez. They add more depth and dimension to the film; Narciso´s character grows around and thanks to them.
Other actors include Natalia Cálcena, Aníbal Ortíz, Belén Vierci, Alberto Sánchez, Mimí Monte, Maca Candia, Liz Fernández, and Florencia Boccia. Each one of them adds its grain of sand; totalling good performances and perfecting the setting of the film.
Narciso and its setting
Filmed in Asunción, Narciso´s setting is of its key aspects, another thing that makes it so special. There is a sense of reality in every scen because of its scenery. From the shining radio studio to Asuncion´s dark streets and corners, its immersion is astounding.
Art direction by Carlo Spatuzza and Babi Targino. ensures meticulous attention to detail, from everyday objects to subtle political imagery. Venezuelan-French director Luis Arteaga, who made the cinematography, adds to the immersion. It is almost like he walked in the 1950s to make the film believable. Actors praised his connection with Martinessi, saying that it without them, a project like this would not have worked.
Sound plays another fundamental role in the film. Fernando Henna and Miguel Martins with their sound work throughout the film make you feel that you not only travelled to the 1950s, but also are listening to national radio in the Paraguay from that era. And finally, Spanish Goya-winning composer Zeltia Montes, who crafted the original score, adds a sense of youth and rebellion mixed with anxiety and fear.
A film that resonates beyond cinema
Beyond its artistic achievements, Narciso stands as a significant cultural and historical reflection. It revisits a silenced chapter of Paraguayan history and also brings it into contemporary conversation. This offers both remembrance and reinterpretation. The film highlights the power of art as a form of resistance and memory. Narciso shows how individual stories can reveal broader truths about a society. In doing so, it not only honours figures like Bernardo Aranda, but also reinforces the importance of confronting the past through creative expression.
From 9 April onwards, everyone can see the film. As Paraguayan cinema continues to grow, Narciso represents a step forward in both storytelling and international recognition. It proves that local narratives, when told with honesty and craft, can resonate far beyond national borders.
