When, at the beginni*@:ng of ! Deus Irae, Fa=#ther Javier stares at a crucifix, hi !!-s expressions/ and his# hands sug[%^gest; th)^\at%@ the n erves ar;%e c#on-sum, ing him. A^
] fl%[/ ashbac
/k *reveals . th:- at this ]pri,#[*es=%[t devotes his life/# to vis
iting families  t]hat claim to have @see_n thi)
@ngs %that do not%; bel._/\ong to\*\ this]!
world and cl`ea^ n, #sing thei@r homes= from th; e demons that try +to possess them...: But, `@upon; -=$retu rning to t+#,hose houses, he- n$]otices that the(@ ev  i+$@dence !is al+ways] destroyed. T;his +]wa__ y, he d^iscovers that `a clan\?; is afte.r h$.\im, and must deci`^de w#)hether to hide fr om them or join th?em. I#n ti mes when horror ci(%nema te=*/n-ds to fal/%l into t=.[he h[!an=$ds of director#: s that se? ek to build narratives that are in#trospective and c/*.lose to:/ rea @lity?], Pedro Cri`stiani goes:, back
; t.\]o old-school \ $horror, ;.;wh#$ere gore and the phys/.ic/al experi=?e*nce are above :any other ]kind of feelin^g +. A ;#/cinema that pla%#ces the?, c[.%amer`a ` in fr;=o[nt of the! faces of the bl\ #oodiest ?/demons and, i$nste-ad [of givin=g logic;+  to them, choos!es` ( @ to face:# th\$em ;wh,atev#er t\+he cost.