By Paul Salfen
In the world of horror cinema, few things captivate audiences like a chilling tale of possession and cultural clash. Director Antonio Negret’s latest film delivers just that, blending supernatural terror with deep-rooted indigenous traditions. The story follows a missionary family who travels to rural Ecuador with the noble intent of converting the local indigenous population. Everything seems to be progressing smoothly until their young son wanders into a forbidden cave and returns possessed by a malevolent demonic spirit. Desperate to save her child, the mother, Candice (played by Sarah Canning), turns to a Catholic exorcism, convinced it will break the evil’s hold. However, the local shamans recognize this ancient entity as something far older than Christianity—one that demands a different approach, or it risks consuming everyone in its path.
I recently sat down with Negret for an engaging conversation about the film, his inspirations, and the spine-tingling process of bringing this story to life. As a filmmaker with a passion for horror rooted in his Latin American travels, Negret shared insights that reveal the heart—and the scares—behind this project.
A Lifelong Love for the Macabre
Negret’s journey into horror began early, influenced by the spooky folklore he encountered while growing up and traveling through countries like Colombia, Brazil, Ecuador, Mexico, and Panama. “I would kind of collect these stories and hear of spooky things in different countries,” he explained, surrounded by a backdrop of Stephen King novels that hinted at his literary influences. “I kind of became obsessed with collecting these stories and wanting to tell them.” He described the beauty and terror intertwined in these places as “a heaven and hell in one place,” a duality that fuels his storytelling.
When asked if he ever felt unnerved during research or on location, Negret admitted, “Absolutely. There’s always stuff that you see and go, ‘What’s that?’ or that sends chills down your spine.” This authenticity permeates the film, drawing from real indigenous beliefs and practices.
On-Set Scares and Supernatural Synchronicities
Filming a possession movie isn’t without its eerie moments, and Negret recounted a particularly memorable one involving actor Jack Kline (likely a reference to a key scene) and Alejandro Viterbo as a priest. “There’s a scene with Jack Kline and he’s with this priest… and he’s just kind of standing on the bed,” Negret said. “I remember looking around and being like, ‘What is this for real?'” Adding to the atmosphere, the generator failed during an exorcism sequence, leading to whispers of otherworldly interference. “There was a sense of like, is there something else trying to stop us from telling this story? Because we’re going to keep going anyway.”
Negret emphasized the film’s unique lens: a possession exorcism story viewed through indigenous Ecuadorian culture. “This film in particular was a chance for me to go back to my roots, go back to horror and do something that is a possession exorcism scary film, but hopefully seen through a lens that hasn’t been seen before,” he noted. “It’s this idea of an Indian shaman and an Indian culture embroiled in this kind of film.”
Authenticity Through Collaboration
To ensure cultural sensitivity, Negret collaborated closely with indigenous communities. His brother, Daniel, wrote the script, laying the groundwork, but Negret went further by working with over 80 families from the Chimborazo region. “It was very important for me that the shaman aspect be very authentic,” he said. Actors like Umberto Morales, whose uncle was a real shaman, contributed ideas to enhance realism. “It was less about pulling back and more about adding… How can we make this even more real and even more scary?”
This approach avoided crossing lines by focusing on genuine representation, with community members involved both behind and in front of the camera.
Advice for Aspiring Filmmakers and a “Hail Mary” Moment
For directors hoping to follow in his footsteps, Negret advised prioritizing personal passion projects. “Make sure to leave space for the ones that mean so much to you,” he urged. After starting in independent film, moving to bigger projects and television, he returned to his roots with this minimalist, twisted horror tale. “Try to leave space for the things that really scare you or mean something to you.”
Reflecting on his career, Negret shared his own “Hail Mary” moment—his debut film Towards Darkness with America Ferrera, shot in Panama right out of film school. With no contacts, he dove in headfirst, incorporating car chases and helicopters on a shoestring budget. “We could have easily not come back from that one, but it was a Hail Mary that let me get my career going.”
Deeper Themes and What’s Next
Beyond the scares, the film explores profound ideas. “It’s a film that warns about the dangers of certainty,” Negret said. “It’s okay to have faith and have religion and beliefs… but there is a danger when you start to impose it on someone else.” This theme resonates through the clash between Catholic rituals and ancient shamanic wisdom.
Looking ahead, Negret is excited about upcoming projects. He’s directed episodes for the new season of The Lincoln Lawyer on Netflix and is attached to another horror film set in Mexico and Colombia. He’s also writing a shark movie, continuing his quest for stories that “excite me and thrill me and hopefully scare the heck out of people.”
Negret’s film hits select theaters and digital platforms on August 8th, offering a pre-Halloween fright fest that’s as thought-provoking as it is terrifying. As a supporter of independent and Latino cinema, I’m thrilled to see storytellers like Negret pushing boundaries. Don’t miss this one—it’ll get under your skin.
Paul Salfen is a host and writer for AMFM Magazine, known for his in-depth interviews with filmmakers and entertainers.
