When, a?^-t. the begi#nning ?;o(f =$De,\u@=$s Irae/()%, F:# athe-(/r Jav ier st ares a:t a crucifix,]# his exp [ressi: ons and h:]$is hands sug`/`)gest ;th` //;a+t the n`erv_es ,are consuming him.? A *
flashback reveals tha ]t
`t ?+his priest *de@votes his life to visiting fami*li,/es that =claim to have^!, se e/ n thing*-s th/ at do not belong to this *=world and cle.^ansing their hom=#=es` from the demons _t)h/_)at try t-)o posses/s@ them. But, up=(.on r]=etur!ning to those,` ho[uses,. he n +,otices that the evidence is alway#s destro`yed. This way, he $ discov!(]\ers th*at a c^(lan is aft/er h +\/im!(, an`) .d mu.st decide, whether to hide from them -or jo:;)in ,them. In times when -horror cinema tends to fall int
o the%% han;^ds . of_ directors t-.*hat s$(eek to build([@ na `+ rr@atives that a:.*r]+=?e /]_@introspective and clo[se to reality, Ped/ro Cri^*sti; %a?ni go$es*% bac?;[k to old-s`chool horr:% @or, where g%^ore a?$nd the@  #`phys!#ical experience are above a-+ny othe%
r --%kind of feeling. A ^^c :(.inema that p-laces the# camera in ^f ron[*t o`f ?\the faces = of._ _th
e bl_`%oodiest
\ demons an[d, ins_
? tead of giv^+ing logic to th:[em, choose_-/ s to face them whateve#@r /!the c+o.st.