A new Costa Rican film set to hit theaters next week takes a hard look at how narcotrafficking and contract killings tear through young lives and families. Directed by Greivin Alfaro, a criminologist turned filmmaker, “Todo Puede Cambiar” draws from real-world issues to show the harsh outcomes of crime without any hint of glamour.
The story follows Alonso Núñez, an everyday man whose stable life crumbles under the weight of organized crime’s violence. It tracks teenagers and families pulled into situations they never chose, highlighting emotional scars, broken homes, and lost futures. Alfaro started the project as a short to expose drug trafficking’s hold on youth, but it grew into a full feature as the narrative deepened and drew public attention.
Filming brought its own challenges. Crews shot intense scenes of armed clashes in Ipís, Goicoechea, working closely with local police and the Public Force to keep things calm and avoid sparking panic among residents. This hands-on approach underscores the film’s grounded take on Costa Rica’s rising crime rates, which Alfaro knows well from his criminology work.
Production kicked off in March 2025, with shooting lasting four months and editing another six. The result arrives in cinemas nationwide starting February 26, running through March 4 at spots like Nova Cinemas. Early buzz comes from social media shares and community talks, pulling in younger viewers and those drawn to films with a social edge.
Alfaro’s experience lends the story real weight. He avoids clichés, focusing instead on how crime ripples out to affect everyone – from direct targets to collateral damage in communities. The film pushes a message of hope: paths away from drugs exist, even if the alternatives in that world often lead to prison or death. It aims to warn young people and parents alike, serving as a tool to steer clear of criminal groups amid what some call the country’s toughest security stretch in years.
Beyond local screens, the film eyes bigger stages. It has racked up seven nominations at festivals in Colombia and Mexico, plus a director nod for Alfaro in a Mexican event where he got invited without even submitting. Plans include pushes for international release, possibly on streaming services like Netflix, to share Costa Rica’s story globally and chase festival wins.
This marks a shift for Costa Rican cinema, moving from lighter fares like romances or comedies to raw social tales. Films tackling human rights and justice often stand out at global events, and “Todo Puede Cambiar” fits that mold with its timely focus on youth vulnerability.
As crime concerns mount here, the film arrives at a key moment. It does not just tell a story – it calls for awareness, showing how ordinary lives can shatter but also rebuild.
