The Exorcism of God

When Salvation Turns Into Sin

Unlike many possession horror films, The Exorcism of God (2022) directed by Alejandro Hidalgo tells a profoundly symbolic story about the influence of guilt on faith and the cost of unfulfilled spirituality. The movie begins by recreating the suspense of an exorcism scene gone wrong, but pivots to the exploration of spiritual and moral rot hidden underneath a priest’s garment.

The plot centers on Father Peter Williams, an American priest of Mexico (Will Beinbrink) who becomes notorious after committing a sin during an exorcism. Father Peter Williams, after eighteen years and still tormented by the sin, is by now a respected member of the community. When the demonic forces resurround Peter, this time within the the walls of his own church, he must defend the faith, his identity and soul.

The Exorcism of God may appear to be a story about possession, but the title and the plot reveal the deeper meaning of the movie– an allegory about the inner spiritual corruption of holiness, the shame and silence that can possess the soul of the most righteous.

The Priest and His Mirror

During the film, Will Beinbrink’s Father Peter embodies more than the sentiment of fear; it embodies the emotions of those internally imprisoned by guilt. Beinbrink’s priest has performed charitable acts, and yet continues unable to redeem even one unforgivable sin. This paradox of saving others and being unable to save yourself forms the emotional core of the entire film.

Beinbrink, in interviews, speaks of the unique challenge of the role as understanding the two opposing dimensions of “a man of God and the sinner within.” This guilt festering personal sin without resolution parallels the struggles hidden behind the facade of moral institutions within society. The film dares to humanize the priest, not as a monster, but as a crushed man of spiritual hypocrisy. The weight of such hypocrisy beyond the screen as a theme is compelling.

Hidalgo’s Dark Vision: A Sacred Horror

Having made The House at the End of Time (2013), director Alejandro Hidalgo has returned to the horror genre. While his first was about time, this one is about eternity, and the endless conflict of salvation and eternal damnation. Religious iconography is employed with almost painterly precision: bleeding crucifixes, churches echoing with the screams of the damned, and confessions that hang heavily cursed.

The film reflects the struggle between purity and corruption through its use of deep shadows and candlelight and surreal hallucinations. Hidalgo remarked wanting to craft “a horror story that feels like a confession,” and The Exorcism of God embodies those sentiments.

Each frame embodies different contradictions of biblical symbols. With serpents mirrors, and fire, the film reminds us that the most terrifying fiends are not those in hell, but those that lie in the human conscience.

The Devil Wears the Face of Forgiveness

When the demon (played with captivating charm by María Gabriela de Faría) transforms and takes the face of Christ, the audience cringes not only at the blasphemy. The horror exceeds the blasphemy of the image and all the others that follow, and forces Father Peter — and us — to ask what forgiveness is.

Redemption as a demon is a metaphor for Peter’s repressed shame, mocking him with the face of the faith he has betrayed. Here, horror is not the the jump scares. It is the idea that our savior bears the face of our sin.

The Challenges of Creating the Film

Like the production of The Exorcism of God, the production staff had its share of spiritual challenges. While filming in Mexico and Venezuela, the crew faced the shooting budgetary constraints, Covid-19 regulations, and the difficulty of filming realism within the emotional context of the exorcism scenes.

In an interview, Alejandro Hidalgo outlined his goal for the viewers: he intended for them to “feel like they were inside the exorcism, both spiritually and physically.” Most of the long shooting hours were characterized by the wearing of heavy and intricate prosthetic limbs and acute emotional breakdowns. At times, the crew members of the production even reported the presence of “strange energy” around the set.

Due to the creative shifts she has, María Gabriela de Faría, who has worked on projects like Deadly Class, also mentioned that it was one of the hardest roles she has had for the simple reason that, “I had to channel the purest form of evil — but also understand its sadness.” The film’s demon fell silent and broken. It was her voice that made the demonic presence one of the most memorable in the film.

A Reflection on Contemporary Faith

Apart from its scares, The Exorcism of God reflects on modern faith. It addresses how some institutions manage sin, especially when it is committed by people cloaked in righteousness. The film suggests denial and acceptance of truth is the real conflict in exorcism.

The church is both sanctuary and prison, a safe haven and a confining shelter. The film’s church is a place where forgiveness is preached, but rarely practiced. Hidalgo’s church script references real-world scandals, demonstrating the dangerous and corrupting nature of concealed spiritual power.

Many fans embraced this honesty in the film because it set it apart from the usual and predictable horror. Viewers in Reddit threads and YouTube reactions described the film as “emotionally devastating,” “bold,” and “uncomfortably real.” It is not simply horror — it is a confession.

Redemption in the Flames

As the final act unfolds, Peter confronts not just a demon, but also his own reflection, both literally and spiritually. The climax, set within a burning church, is symbolic of purification through destruction. Fire becomes both judgment and grace once it consumes everything false, leaving only truth behind.Typically, horror endings embrace ambiguity or unanticipated plot twists, but Hidalgo dares to present a different conclusion. It is a haunting closure; a reminder that even the most fallen can find redemption — though only after traveling through their own hell.

The Unseen Exorcism

The Exorcism of God leaves viewers with the unforgettable idea that maybe some exorcisms have less to do with casting out demons, and more to do with the confronting self. In the end, the horror is not about a possession of the devil, but a frightening denial that most of us can live with.

And for this Alejandro Hidalgo transcends the genre. He gives us not a horror film, but a horror sermon; one that while we may ask, still awaits our answer: Are we ready to forgive even the unforgivable?