Más allá de la muerte

Raimundo Davidson is a young man who loves Florencia, the niece of a physician famous for his skill with hypnotism. That doctor uses his power in partnership with a dishonest associate to run shady schemes, and they see Florencia as the quickest route to Davidson's money. When an insurance investigator hints at the pair's illicit dealings, Davidson starts to put the pieces together and tries to protect his relationship while uncovering how far the doctor will go to manipulate people. The story keeps its tension in personal confrontations and psychological control, avoiding sensational reveals while showing how trust and deception collide.

Directed by Benito Perojo and released in 1924, the film adapts work by Jacinto Benavente and features Andrée Brabant, Georges Lannes, Gaston Modot, Joaquín Carrasco, and Frank Dane among the principal cast.

Contemporary box office records for this 1924 drama are scarce, and no reliable worldwide gross is available. Like many silent-era releases, its commercial footprint is hard to reconstruct from surviving trade reports.

Though not widely known to general audiences today, the film is of interest to scholars of early cinema for its use of hypnotism as a plot device and for showcasing performers active in European silent films. Surviving references tend to appear in histories of the director and period studies rather than in mainstream film culture.

Critical reaction from the time is limited in the surviving record. Modern viewers and researchers tend to highlight themes of manipulation, greed, and the question of consent under influence, along with the moral tensions that drive personal relationships in the story. Performances by the leads are often noted as central to maintaining dramatic credibility in a plot that depends on subtle psychological power struggles.