20年前,女子特雷西(Kt Fanelli 饰)被恶魔附身,当地教会组织了驱魔仪式,结果仪式失败,两名参与仪式的神父双双丧生,唯一的生还者,是当时担任摄像的特雷西的儿子。一晃眼二十年过去,布兰登(克里斯·迈纳 Chris Minor 饰)和同学克莱(Jake Brinn 饰)将这宗失败的驱魔事件选定成为了他们的课题作业,两人找到了当年的驱魔录像带,并且来到了特雷西的老家,决定在那里重启降灵仪式并且进行网络直播。 最终,降灵仪式失败了,但是布兰登和克莱的所作所为引起了当地一个邪教组织的注意。之后,布兰登震惊的发现,当年的特雷西竟然就是自己的母亲,很快的,布兰登就成为了恶灵觊觎的对象。
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.