The Wind of Fear

Claudia ends up isolated in a reform-like clinic where a stern physician in charge imposes strict rules. Surrounded by girls who share similar memories of trauma, she begins to see traces of Andrea, a young intern who died by suicide a year earlier. A second patient named Josefina and the clinic's deputy doctor, Lucia, seem to know more about Andrea's resurfacing than they admit, yet their calm masks a deeper unease. As a fierce wind grows, strange disturbances ripple through the ward, blurring the line between psychological strain and something otherworldly. The setting tightens, and the line between help and harm starts to blur. The wind becomes a character of its own, heightening tension without explicit explanations.

Directed by Gustavo Moheno, The Wind of Fear reimagines ideas from veteran writer Carlos Enrique Taboada, blending a contemporary Mexican horror sensibility with the claustrophobic intensity of a psychiatric care setting. It marks Moheno's sustained exploration of tense, intimate storytelling.

Box office figures for this title are not widely published, making it hard to gauge commercial impact. It likely found its audience through festival circuits and streaming, rather than blockbuster release patterns. Promotional materials emphasize a mood driven by wind and shadows.

There is no record of major awards or nominations for The Wind of Fear, which suggests limited festival prestige. Still, the film's ensemble led by Martha Higareda and Veronica Langer is noted by some viewers for delivering a disciplined, restrained performance under pressure. No prize data available.

Critical takes emphasize the film's tense atmosphere and its restraint in a setting that heightens fear without overdoing effects. It probes power dynamics in care, the fragility of memory, and how supernatural hints refract psychological stress. The wind motif works as a catalyst, linking trauma to perception and testing the line between medicine and illusion.