At the very
least, Asmodexia has a somewhat
original plot that deters from most other exorcism horror films, though it
still revels in all of the typical visual tropes of the genre. Young girls,
elderly people and children are subjected to the usual demon-possession
sequences, though the film eventually offers a thinly veiled twist on the
narrative which removes faith and Christianity from the equation altogether.
Even though the misdirection of the movie’s early sequences are fairly
transparent, Asmodexia is ultimately
brought down by an overcomplicated screenplay trying too hard to surprise the
audience with mystery. Ultimately, it doesn’t matter who is good or bad; the
movie relies almost entirely on the style of individual exorcism sequences.
After a
disconcerting opening pregnancy sequence which hints at the obvious twist at
the center of the narrative, we spend much of the film following a non-Christian
exorcist named Eloy Palma (Lluís Marco) and his creepy granddaughter, Alba
(Cláudia Pons). Despite their traveling exorcism routine, it is clear from the
eerie music that these are not typical exorcisms. I would worry that my review
might reveal the true reason for the rituals, but the details are convoluted
despite a clear reversal of the typical good vs. evil format of these films.
Perhaps someone with more knowledge about demons or predictions for the
apocalypse would be capable of understanding the motives of each character, but
for most this will just be a series of stylized horror scenes leading up to an
expected twist ending.
I don’t care for
demon possession films even when the characters are relatable and the
distinction between good and evil is clearly defined. Asmodexia is a film ruled by mood rather than story, and I felt no
connection to any of the characters. As a result, there is nothing at stake
when watching the conflict play out. None of what occurs demands consideration
from the audience beyond the cleverness of the set-up and the style of the
horror sequences. It doesn’t help that the cast offers little to relate to,
with thinly developed characters and mediocre acting. This seems to be a
stylized feature-film debut serving as a calling card for director Marc
Carreté, though it simultaneously shows his inexperience as a screenwriter.
The DVD special
features include a trailer.
Entertainment Value:
3/10
Quality of
Filmmaking: 4/10
Historical
Significance: 4.5/10
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