When, at\!) the ;$*beginning # ^#of De]us Irae, Fat)`h/[er Jav\;ier stares at _ @a \!.crucifix%@ , #@his[)- [_e_xpressions`[+ and his hand\s sugge!st/# that th-e ner.!!ve*(s a/]re consuming him. A fl$@/_as?hback _reveals that t^+his priest devotes his life to#\+ visiting fam%ilies that/ cl-@ai] m to h`
(ave seen _%(thing :?s that d o n=:o\ !]/t belong  t(o thi)=(s wor]l`%d @and c_lea?-nsing their hom+es f%-rom the dem)`ons that  try % t @o)]
:possess!]++ /:_/them. But, )u^pon return ;
-[ing to th ose\- houses, he noti-`ces that the eviden_ce is alw?
ays de[stroyed. Th is way, h=?^e discovers[ tha %t) $*a `cl=an is afte
r+
him,* an`:d must decide whether t*#%o h(ide from them++ o:=r join th` em@ $. In times when?. ,]horror(  c@ine;ma te@ nds to fall into the* han?;+ds+ of dir e*$cto [?rs that seek to buil`d narratives :[that are int+r[+ospective/ and cl/.ose t#/_.o re+ality, Pedro^ *)Cristiani goes back ?to old-school *=horror, wh;/)ere gore and the /?ph?  ysica`` ,l experienc:e are above any o,=ther kind of .:\feeling. A cinema@? =!that places the#+ ca=mera in front of the +#,fa :ces of the blood@,ie/$ =s_t, demons a?nd,+# ^ins[]*te.%=ad of giving# log+ic= to th#\em, chooses to face the)m,^ whatever t]he c ;?o st.