An overprotective exorcist tries to free a betrayed woman from the devil. A gay occultist consummates his marriage to his jealous boyfriend. Two opposite stories of disappointment and love that place us in front of a distorted mirror. The film introduces us to four witnesses of the devil seeking refuge in faith from the torments of love, but takes us somewhere far beyond, where the earth is on fire and bodies squirm and struggle to bring the demonic closer to the flesh.

Alejandro Naranjo, a Colombian filmmaker, began his career with creative documentaries and then started exploring the hybrid forms of cinematographic expression. In his works, cinema becomes visual anthropology as a way to understand certain traditions and the deep essence of the human soul. With his direct, distant but respectful filming style, he presents us a gallery of characters (from an atypical priest to the most recognised occultist) who face decisions that can twist their life in the world of the living.

The eternal fight between the good and the evil (the now fancy yin and yang) faces a new challenge and raises questions: exorcise or condemn? To pray for release or devote yourself faithfully to Lucifer? Naranjo’s characteristic filming style renders the camera invisible, making us feel how the characters’ torments come from the paranormal. The film becomes a ritual: Evil (or the solution) comes from far beyond good, but the human weaknesses remain. A movie arrived from afar, from the great beyond.

Javier Garcia Puerto