In 2024, Argentine cinema took a bold and unexpected turn with El Apocalipsis de San Juan, a religious docudrama that attempts to visualize one of the most cryptic and powerful texts in Christian scripture: the Book of Revelation. The film is directed by Simón Delacre and is based on the writings and interpretations of Catholic priest and philosopher Leonardo Castellani.
The film follows the Apostle John during his exile on the island of Patmos, where he receives apocalyptic visions from God. What follows is a series of narrated dramatizations and symbolic visuals that portray John's visions of the end times: the Seven Seals, the Four Horsemen, the sounding of the trumpets, and the rise of the Beast. While there is no traditional plot or character arc, the film is structured like a theological essay rendered through powerful imagery and voice-over commentary.
The tone is reverent, solemn, and at times intense. Through a combination of live-action footage, stylized CGI, and poetic narration, the film tries to bridge the gap between divine prophecy and modern understanding. It does not aim to entertain in the conventional sense, but to provoke contemplation, awe, and spiritual reflection.
El Apocalipsis de San Juan is a unique cinematic experience. It is neither a straightforward documentary nor a conventional feature film. It’s closer to a visual homily—deeply rooted in Christian eschatology, specifically interpreted through Castellani’s traditional Catholic lens.
On the positive side, the film boasts some haunting visuals that succeed in evoking the scale and mystery of the biblical Apocalypse. The Four Horsemen gallop across scorched lands, angels descend amidst thunder and flame, and great beasts rise from the sea—all presented with a mixture of digital animation and stylized minimalism. The narration is dense, intellectual, and unwaveringly theological.
However, not all audiences have reacted favorably. Many critics argue that the film lacks narrative dynamism, relying too heavily on exposition. The constant voice-over, the limited character interaction, and the heavy-handed moral tone make the film feel more like an extended religious lecture than a piece of cinema. Its appeal may be limited to devout viewers, theologians, or those already familiar with Castellani’s works.
That said, the film does achieve what it set out to do: to present the Book of Revelation in a visually accessible, interpretative form.
A potential sequel, El Dragón y las Bestias, could pick up where the first film left off, exploring the rise of the Red Dragon, the two Beasts, and the persecution of the faithful. In this imagined continuation, we might follow John’s vision as he witnesses spiritual warfare on Earth and in Heaven.
The sequel could take on a more allegorical tone, dramatizing modern events as parallels to the ancient prophecies. Characters such as the False Prophet, the Whore of Babylon, or the Two Witnesses could be personified and given dramatic arcs, making the narrative more engaging for a wider audience while retaining the theological core.
El Apocalipsis de San Juan is a bold and uncompromising film. It doesn't aim to please the crowd—it aims to awaken the soul. Whether one sees it as prophetic truth, artistic expression, or religious allegory, the film is a rare and intense journey into one of the Bible’s most mysterious books. It demands patience, faith, and above all, reflection.
