白雪是一个正处在青春叛逆期的女孩,她不满父亲格兰特(艾瑞克•罗伯特斯 Eric Roberts 饰)和继母伊芙(玛瑞恩•麦柯米克 Maureen McCormick 饰)的婚姻,在家里处处与他们作对,在外逃课、飙车、惹祸,令人头痛。在伊芙的挑唆下,格兰特忍无可忍,将白雪强制送入“四周忠诚训练营”,一个旨在改造所有问题少年的活动。白雪被逼无奈,只得在烈日酷暑和教官呵斥怒骂下进行各种各样高强度的训练。与此同时,心怀叵测的伊芙时刻图谋吞并格兰特的家产,为此,她必须除掉排在她前面法定继承人白雪。白雪不仅要想方设法保护自己,还要彻底挫败狠心继母的阴谋……
Fleeing from their violent father, siblings Luci?a and Adria?n take refuge in a remote mansion. With the help of a hidden micro-camera on a cat, Luci?a uncovers a terrifying secret: their neighbors are part of a criminal network that kidnaps teenage girls to make snuff films, and they intend to get rid of the siblings. As Lucía fights to protect her brother, she must face a dark family curse that follows them into their newfound sanctuary.
When, at the beginning of Deus Irae, Father Javier stares at a crucifix, his expressions and his hands suggest that the nerves are consuming him. A flashback reveals that this priest devotes his life to visiting families that claim to have seen things that do not belong to this world and cleansing their homes from the demons that try to possess them. But, upon returning to those houses, he notices that the evidence is always destroyed. This way, he discovers that a clan is after him, and must decide whether to hide from them or join them. In times when horror cinema tends to fall into the hands of directors that seek to build narratives that are introspective and close to reality, Pedro Cristiani goes back to old-school horror, where gore and the physical experience are above any other kind of feeling. A cinema that places the camera in front of the faces of the bloodiest demons and, instead of giving logic to them, chooses to face them whatever the cost.
Didier Konings’ simmering mediaeval horror Witte Wieven explores the confluence of religion and patriarchy in an excessively puritanical Dutch village. Blamed by her community for being childless, Frieda immerses herself in prayer and ritual. When she returns unscathed from the forbidden forest surrounding the village, having evaded a lecherous butcher, she is condemned as an agent of the devil. Frieda, however, finds new faith in the dark powers that inhabit the woods.
Shot in a reduced colour palette at the edge of visibility, Konings’ gripping film constructs a convincing pre-modern society whose practices it elucidates with patience and attention. Although set in the Middle Ages, Witte Wieven displays an unmistakably contemporary spirit, crafting a feminist parable about women discovering new ways of understanding their lives and the world.