The Exorcist

Ofelia, a young nun newly posted to the dusty town of San Ramon, is pressed into acting as exorcist for a pregnant woman whose life is slipping away. The ritual seems to end the malevolent presence, but the air stays charged and warnings proliferate. When the supposed cure reveals itself as only a pause, Ofelia confronts a persistence that feeds on fear and doubt. The story fuses classic possession beats with a distinctly Latin American sensibility, turning claustrophobic interiors and ceremonial iconography into a personal struggle between faith, survival, and the stubborn will of evil. The town itself feels complicit, its sunbaked streets and quiet houses echoing with unspoken guilt. Visuals lean toward shadows and close quarters, heightening the sense that danger hides where you least expect it it.

Directed by Adrián García Bogliano, this 2022 film presents an original screenplay that revisits possession tropes with a Latin American twist. Maria Evoli stars as Ofelia, with Diana Bracho voicing La Serpiente and a strong ensemble behind her.

Box office data for this title is not widely reported, reflecting a modest release that landed mainly in regional theaters and streaming platforms rather than a wide global rollout. It connected with genre fans at festivals and specialty cinemas.

Awards: There are no prominent nominations listed for this title, aligning with its status as a niche regional release rather than a blockbuster prestige project. Some viewers note the performances and direction as the strongest elements even in modest awards conversations.

Reception praises the film for its restrained pace, tense atmosphere, and strong performances, especially the lead's quiet resolve. Thematically it weighs faith against fear, the limits of ritual power, and how motherhood and community respond when danger seems inescapable. Performances from Maria Evoli and the ensemble contribute to a quiet intensity, making fear feel earned rather than spectacle driven.