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cinematicjourney · 1 year

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Satanic Pandemonium (1975) | dir. Gilberto Martínez Solares

#satanic pandemonium #satanico pandemonium #la sexorcista #gilberto martinez solares #cecilia pezet #films #movies #cinematography #screencaps

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weirdlookindog · 3 months

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Satanico Pandemonium: La Sexorcista (1975) - Italian poster

#satanico pandemonium: la sexorcista #satanico pandemonium #cecilia pezet #enrique rocha #delia magaña #1970s horror #1970s movies #1975 #gilberto martínez solares #nunsploitation #horror movie poster

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horror-aesthete · 1 year

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Cecilia Pezet as Sister Maria in Satanico Pandemonium

#Horror Movies #horror aesthetic #satanico pandemonium #cecilia pezet

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le-fils-de-lhomme · 11 months

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I'm surprised that Cecilia Pezet's face in Satanico Pandemonium hasn't reached the same notoriety and use on tumblr as Posession girlie.

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aloneandforsakenbyfateandbyman · 2 years

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Satanico Pandemonium (1975)

#Satanico Pandemonium #film #1970s #nunsploitation #Cecilia Pezet #horror

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musidoro · 3 years

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SATÁNICO PANDEMONIUM/ LA SEXORCISTA (1975), directed by Gilberto Martínez Solares.

#satanico pandemonium #la sexorcista #gilberto martinez solares #cecilia pezet #cine mexicano #mexican cinema #nun #roman catholic nun #catholicism #horror movie #horse

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tinyawazzzo · 3 years

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Satánico Pandemonium (1975)

#Satanico Pandemonium #Satan #Nuns #Horror #70s Horror #Cecilia Pezet #Gilberto Martínez Solares #mexican cinema #h

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koma-kino · 4 years

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Satanico Pandemonium - Gilberto Martínez Solares

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vidioten · 3 years

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Satanico Pandemonium a.k.a. La Sexorcista (1975), Gilberto Martínez Solares.

#Gilberto Martínez Solares #Satanico Pandemonium #La Sexorcista #Cecilia Pezet

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anhed-nia · 5 years

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BLOGTOBER 10/10/2019: SATANICO PANDEMONIUM or LA SEXORCISTA

Yes, Quentin Tarantino named Salma Hayek’s FROM DUSK TILL DAWN character after this Gilberto Martinez Solares movie. For some reason this is the main thing anyone wants to say about this movie, as if anybody has the time in their lives to list all the things that Quentin Tarantino has named after other things. Reading movie reviews or other film writing online is a really revolting experience. I usually skim a handful of articles and blog posts when dealing with a movie I don’t know so well, just in case there’s some important information I’d have missed, but the only thing anyone wants to say about SATANICO PANDEMONIUM is about Salma Hayek, and I had to read one especially self-satisfied review refer to her as “yummy”, and now my brain needs a Silkwood shower. My writing is probably pretty awful from time to time but I hope it’s never THAT stupid and boring.

Um anyway. What mainly interests me about Gilberto Martinez Solares’ 1975 nunsploitation movie is the same thing that interests me about a lot of Mexican supernatural horror movies--the earnest concern for the one’s soul. In the present film (how can you possibly choose between its two equally excellent titles?), the pious and beautiful Sister Maria attracts the attention of Satan, who pursues her with the actual fruit of knowledge until he succeeds in corrupting her. The newly awakened satanist then transforms from a good little masochist into a dangerous sadist, committing acts of arson, assisted suicide, rape, murder, and of course lesbianism, before she has to face the ethereal consequences of her sin spree.

It’s hard to quantify without a longer survey of such movies, but it still feels like overstating the obvious to say that religious horror movies from deeply catholic countries “get” demonic possession and satanic conspiracy more than the rest of us. I am a giant fan of THE EXORCIST, but even that cerebral effort--whose horror is a more successful allegory for secular concerns like addiction and mental illness, than it is a spiritual statement--remains focused on preserving Regan’s earthly, rather than eternal life. Religious horror is one of my favorite subgenres, which means I slog through a lot of repetitive, derivative nonsense, and most filmmakers can’t seem to get past the mundane torments of criminal violence, and of one’s one body decaying, as the main problems of infernal contimination. The impact of blasphemy escapes filmmakers who don’t live with it as a foregone conclusion, or who fear that audiences will find it too esoteric. Not so in LA SEXORCISTA, in which Maria’s bloody rampage is not just a matter of legal transgression, but is peppered with fabulously irreligious dialog like “I’m more powerful than God” and “I AM HELL!” There is a general aura of real concern for Maria’s spiritual fiber, and what will happen to her and her victims in the afterlife.

It’s not that hard to understand why the fate of the soul is sometimes eschewed in movies that do not specifically function as actual religious propaganda, like the LEFT BEHIND or GOD’S NOT DEAD series. International viewers who have to suffer dreary debates about the separation of church and state in their daily lives, or for whom warding off proselytizers is a regular annoyance, probably don’t want to hear about the light of god in their escapist fantasies. Put that way, even I get the point. But the way I typically think about this topic is: I grew up during the Satanic Panic, Even though my parents were intellectual agnostics, the paranoid vibrations of opportunistic daytime talk shows, and openly religious broadcasts like the 700 Club, managed to penetrate my awareness, and what they had to say scared the shit out of me. Bob Larson’s Talk Back played on a local radio station, in which he would berate self-proclaimed witches and warlocks, and try to exorcise alleged possession victims over the phone, and I would race home to listen to his fevered rants in much the same way other kids might scare themselves silly with contraband horror comics. I was affected by these things not so much because I was afraid of the devil himself; it was more that these fanatics believed in much more terrifying realities than whatever my favorite horror movies could fabricate. The idea that eternal torture was doled out by a hateful and inscrutible god for victimless crimes like masturbation or sexual preference, or that a lifetime of good work would be for naught if you didn’t dedicate it to Jesus specifically, was totally mindblowing to me. The christians who perpetuated these ideas seemed like a bunch of sadistic perverts, and the notion that they might be correct about human life in some unfalsifiable way was the worst thing I could possibly think of.

So, even though I wasn’t raised in a religious household or community, I find it very easy to understand, and even relate to on some level, the existentialist horror expressed by countries where belief in hell is the norm. SATANICO PANDEMONIUM is a relatively breezy example, and I’m not suggesting that I was deeply shaken by it or anything--only that, as charmingly loopy as it is, I understand where it’s coming from.