⭐️⭐️⭐️1/2 out of ⭐️⭐️⭐️⭐️⭐️
Intensity: 🩸🩸 out of 🩸🩸🩸🩸🩸
Argentina’s genre darling Tamae Garateguy returns with her latest period piece/nunsploitation/occult/LGBTQ/feminist manifesto! With its World Premiere at this year’s Bucheon International Fantastic Film Festival (BIFAN), Garateguy’s given us a lot to unpack.
Directed by Tamae Garateguy
Buenos Aires, Argentina in 1931. Just one year after the 1930 coup d’etat brought the first of many military dictatorships to the country. Emilia [Cumelen Sanz; Under Her Control (2022)], a bright young woman determined to go her own way, is dropped off at a convent by her army general father because she “acts like a man” and doesn’t believe in his preferred religion. She’s also not keen to marry the middle-aged officer her father’s trying to set her up with.
Mother Superior [Marcela Benjumea; TV’s La Nieta Elegida (2021-2022)] ultimately agrees after a generous donation and a desire to stay in the good graces of the new forces in power. Emilia’s relocation wasn’t entirely unheard of as convents were a place to stash away society’s other “unwanted” women: those with learning disorders, psychological problems, perceived behavioral issues, and so on. With help from fellow resident, Rebeca [Paula Carruega; TV’s Kaselman e Hijo (2017)], Emilia finds a place among the colorful personalities of the nuns’ other foundlings.
And then things get weird.
Auxilio touches on a myriad of timely subjects: women’s autonomy, oppression of the LGBTQIA+ community, toxicity of the patriarchy, and the rigidity of organized religion to a degree (even though the nuns and Mother Superior, specifically, can be seen as dueling protagonists with Emilia in the film). Having these issues brought to the fore by a nearly all-female cast — the exceptions being Emilia’s father [Germán Baudino; History of the Occult (2020)] and the super pervy priest [Gerardo Romano; TV’s El Marginal (2016-2022)] — not to mention the women-lead team behind the camera (all departments in the production were headed by women) makes the film’s voice that much more empowering.
Fair warning for the viewer, it’s still a horror movie. While the gore is minimal in Auxilio and almost exclusively relegated to the third act the movie does offer up some disturbing images and scenes throughout including abuse, restraint, torture, and a rather graphic depiction of sexual assault. This, obviously, is by design and holds true to Garateguy’s view of genre filmmaking:
The threshold of shock has changed a lot. It was increasing over the years. The pandemic, reality, is too hard, too putrid to want to see. I defend the most extreme cinema, the cinema that wants to reach some limit, shock, or representation of evil, of the human being in its worst form – more perverse, animalistic, and more destructive.
That’s why I’m a great defender of genre cinema, of cinema that seeks shock, an unpleasant place, even. Cinema that provokes the spectator, that’s where it has to be, not in reality. Reality is horrible. I think cinema provides a space for that part of the human being that’s still latent.
Tamae Garateguy (Variety, 2022)
As a period piece, Auxilio‘s sets, costumes, and locations shine bright. A lot of thought went into putting it all together and it shows. Production values are high throughout as you’d expect and the cinematography is top notch. The use of lighting and the natural beauty of the convent building makes for some spectacular and gorgeous shots.
It’s definitely a slow-burn and can be pretty artsy at times, but if you stick with it (or if you’re already a big fan of that sub-genre) Auxilio is a fascinating watch and mesmerizing experience.
Auxilio had its Word Premiere at 2023’s Bucheon International Fantastic Film Festival and is being distributed by Del Toro Films and Argentina’s Furia Films.
Review by Robert Zilbauer.