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The Crucifix: Blood of the Exorcist

The Crucifix: Blood of the Exorcist

2025

Director

Stephen Roach

Runtime

92 minutes

Average Rating

No ratings yet

Synopsis

A gruesome discovery in the grounds of their new home plunges a young couple into a maelstrom of spiritual possession, pagan rituals, Viking battles, and violent revenge.

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Diversity & Representation

Overall Score

3.7/10

Limited


Category Breakdown

LGBTQ+ Representation

Fair

The film centers on a young couple and themes of demonic possession. There is no explicit evidence of queer identities or a critique of heteronormativity within the narrative.

Gender Representation

Fair

Hannaj Bang Bendz leads the cast in a high-stakes horror setting. While this suggests an active female role, the film lacks evidence of subverting traditional gender hierarchies.

Racial & Ethnic Diversity

Limited

Set in Scotland with Viking and pagan themes, the film focuses on European ancestral identities. The cast list provides no data to confirm diverse racial representation.

Religious & Cultural Diversity

Limited

The story relies heavily on Christian iconography, including priests and exorcisms. While pagan rituals are present, they appear to function within traditional religious conflict frameworks.

Disability Representation

Minimal

The narrative contains no mention of characters with visible or invisible disabilities. No information regarding neurodivergence or chronic illness is available.

Strengths

  • The presence of a female lead in a high-stakes role suggests a departure from purely passive female characters.

Areas for Improvement

  • The film lacks explicit representation of LGBTQ+ identities or non-heteronormative perspectives.
  • The narrative leans heavily on traditional Western religious and historical frameworks.
  • There is no evidence of diverse racial or ethnic representation within the cast or setting.

AI Analysis

The film follows conventional horror tropes, centering on a grieving couple and spiritual possession. It utilizes established religious and historical motifs rather than attempting to subvert them. While the inclusion of pagan rituals alongside Christian elements adds a layer of religious conflict, the narrative remains rooted in traditional Western frameworks. The focus on Viking history and priesthood suggests a preoccupation with specific European identities. Ultimately, the work lacks the explicit evidence of intersectional agency or systemic subversion needed to move beyond a standard genre entry.

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