Mexican horror Disappear Completely is making its way onto Netflix after debuting with a really strong Rotten Tomatoes rating.
Directed by Luis Javier Henaine, the movie follows ambitious crime scene photographer Santiago (Harold Torres) who realises he’s fallen victim to a mysterious illness that’s causing him to lose all of his senses, one by one.
The film, whose original title is Desaparecer por Completo, has benefitted from word of mouth since screening at Fantastic Fest in 2022. Two years after its premiere, it’s set to be added to Netflix’s catalogue on April 12.
Ahead of its streaming release, let’s take a look at what critics had to say about it on Rotten Tomatoes, where the film currently sits on a 100% rating.
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“Its adherence to contemporary horror conventions and its open, pessimistic ending certainly places Disappear Completely among the most valid and interesting recent contributions to the genre.”
“Not to discredit any of his filmography, but this is my favorite movie by Luis Javier Henaine.”
“With sensible use of sound and setting, Henaine directs a photojournalist’s unraveling with subtle, eerie ferocity.”
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“Part investigative thriller, part chilling horror film, Disappear Completely is brilliantly directed.”
“Henaine’s movie is a relatively grounded one that is unafraid to work in mysticism and tradition. The entire runtime is spent subverting expectations. The final moments are the culmination of a powerful tale of regret and power.”
“Disappear Completely is an unnerving supernatural horror story that brings the morality of our everyday world into question when it comes to the pop culture obsession with true crime.”
“A fusion of Nightcrawler with witch doctors, Disappear Completely straddles both the old and new world.”
Disappear Completely becomes available to stream on Netflix in the UK on April 12.
Reporter, Digital Spy
Stefania is a freelance writer specialising in TV and movies. After graduating from City University, London, she covered LGBTQ+ news and pursued a career in entertainment journalism, with her work appearing in outlets including Little White Lies, The Skinny, Radio Times and Digital Spy.
Her beats are horror films and period dramas, especially if fronted by queer women. She can argue why Scream is the best slasher in four languages (and a half).
