Warning: Light spoilers ahead.
To those who love film, it comes as no surprise that Hollywood so often tries to distance itself from real-life tragedy. Horror, in particular, seems to feel the effects of this sort of sudden conservatism. One such example is the changing of iconic villain Freddy Krueger from child molester to “child murderer”, which was done to avoid any association with the highly publicized McMartin Preschool pedophile accusations made the year before A Nightmare on Elm Street’s release, in 1983. A more recent instance is that of Universal Pictures’ cancellation of the release of The Hunt, a film featuring affluent elites “hunting” unsuspecting people. The film’s cancellation came just after a series of mass shootings, as well as a Twitter tirade by Donald Trump and his supporters.
In nearly every example of an upcoming film being deemed too realistic in the wake of any number of American tragedies, those rallying against the movie center their concerns around children learning bad behaviors or ideas. Sometimes children were victims of said tragic event; sometimes, children are simply the excuse behind parents standing up against content they deem offensive. Hell, even horror fans think content victimizing children is a step too far.
That’s part of what makes director Emilio Portes’s Belzebuth feel like such a swift punch in the jaw. The film’s premise centers itself entirely around the deaths of children. In its opening scene, smiling faces in a Mexican maternity ward are replaced with horror-stricken grimaces when a woman walks in and begins violently stabbing the newborns to death. While you can’t directly see the damage being done, the scene is bloody, disturbing, and thoroughly horrifying.
One of the slain newborns was the son of Emmanuel Ritter (Joaquín Cosio), a homicide detective. He and his colleague, Demetrio (José Sefami) are tasked with investigating a series of terrorist attacks targeting children. They enlist the help of a rogue priest, Vasilio Canetti (Tobin Bell), and a paranormal forensics investigator, Ivan Franco (Tate Ellington), and together the group uncovers the truth behind these acts of brutality.
To put it simply, Belzebuth just does not let up. It’s devastating throughout, and although the premise may sound exploitative and crass Belzebuth manages never to cross a line to turn the audience against it. It’s fair to say, though, that those more sensitive to this sort of violent content may not handle the film as well.
Amid its implications of carnage, the film produces visually compelling imagery and features several memorable scenes. There are even moments of a sort of dark whimsy mixed in with the terror. One particularly fantastical creature effect featuring a large crucifix- similar to THAT ONE in THAT SCENE of A Dark Song– will likely be divisive. Both films utilize similar CGI effects, but Belzebuth’s end result is much easier to digest and succeeds in being creepy.
Likewise, it is important to note that budget limitations can be seen sporadically and will also likely divide audiences. One particular instance is a backdrop – or the lack of one – towards the end of the film. It looks as though it was filmed in front of a green screen. However, this is counterbalanced by a tense, underground chase scene with flashing red lights to set the tone. For each slightly distracting instance of questionable effects, the film rewards the viewer with something impressive.
Belzebuth is successful on other levels, too. Cosio stands out with his portrayal of a grieving but resolute father and husband searching for answers. Bell is also an excellent choice for his role of the heavily tattooed, no-nonsense, excommunicated priest. Additionally, the film produces engaging moments when the film slows down and shows the aftermath of some of the wreckage, allowing the viewer to fully digest what they’ve just seen.
Suffice it to say that Belzebuth finds a way to take the well-trodden path of the possession film and make it unique. While it may not be altogether subverting the tropes associated with the subgenre, the film does find a way to best them. These characters have better back-stories, not to mention much more at stake, than characters of similar films. The acts of violence are so barbaric that we, as the audience, can’t help but be invested – but it doesn’t ever feel like a cheap ploy to incite a reaction. Belzebuth’s willingness to both bask in its ferocity and risk pushing away its audience is commendable and, alone, makes the film worthwhile to those who enjoy movies which push boundaries. The fact that the film is surprisingly interesting and timely is merely an added bonus.
It can’t be understated: Belzebuth will inevitably divide audiences. There will be people who find the film’s premise too distasteful. There will be people who dismiss this film as yet another run-of-the-mill possession movie. However, Belzebuth is a fresh take on an old subgenre and uses its violence in a way that doesn’t feel like an attack on the viewer. This film will ultimately find its place as one of the strangest and most imaginative possession films in recent memory, if not of all time.
Ultimately, Belzebuth doesn’t fully realize a message about Mexican and American relations, but it does make its point about faith during a time of upheaval. Additionally, Portes does a wonderful job of immediately setting the tone for the entire film and he practices restraint at all the perfect moments. At such a pivotal time in entertainment history, when one tweet from a political leader can allegedly take down an entire film release, it’s so refreshing to see a director like Portes take on this sort of material with fearlessness. Belzebuth is a firm “fuck you” to anyone who may try to keep horror films within socially acceptable confines.
Belzebuth is now streaming on Shudder.
