慑魄惊魂

　一群年轻人前往丛林露营，试图修复彼此因家庭悲剧而破裂的关系。斯科特与朋友走散后，意外坠入十米深的尖刺陷阱，腿部被刺穿，被困其中。他尝试呼救、自救，却发现陷阱外的猎人正以他们为猎物，在丛林中展开猎杀。他只能利用身边的一切资源，对抗身体的剧痛与心理的恐惧，同时躲避猎人的追捕，同行的伙伴们也在丛林中接连遭遇不测，这场露营之旅早已变成一场致命的生存游戏。

“Lobo Feroz is a loose, revitalised adaptation of Big Bad Wolves. There were many changes that we made when you compare it to the original, given that we added new characters, plot strands and locations, and we introduced and fleshed out new themes teetering between dark comedy and police thriller. The film questions one’s principles, human behaviour and how ambiguous it can be,” the director explained to Cineuropa. “I’m very happy to be able to work with a dream Spanish cast, where everyone demonstrates their enormous talent and commitment in every scene and through every single detail.”
　　The screenplay for the movie – written by Juan Manuel Foode Roma and Eva María Alonso Moreno – follows a police officer on the fringes of the law and a woman seeking revenge. Their paths cross, as they are obsessed with discovering the identity of the murderer behind a string of brutal crimes involving various girls. They are both willing to do whatever it takes to secure a confession, even though they will have to take the law into their own hands in order to do so. At the same time, a model detective will do his utmost to avoid irreparable errors being made and to ensure that this desperate search for the truth does not transform into the fiercest of wolves.

When, at the beginning of Deus Irae, Father Javier stares at a crucifix, his expressions and his hands suggest that the nerves are consuming him. A flashback reveals that this priest devotes his life to visiting families that claim to have seen things that do not belong to this world and cleansing their homes from the demons that try to possess them. But, upon returning to those houses, he notices that the evidence is always destroyed. This way, he discovers that a clan is after him, and must decide whether to hide from them or join them. In times when horror cinema tends to fall into the hands of directors that seek to build narratives that are introspective and close to reality, Pedro Cristiani goes back to old-school horror, where gore and the physical experience are above any other kind of feeling. A cinema that places the camera in front of the faces of the bloodiest demons and, instead of giving logic to them, chooses to face them whatever the cost.