Genre: Horror | Supernatural | Religious Thriller
Directed by: Daniel Stamm
Starring: Jacqueline Byers, Colin Salmon, Christian Navarro, Virginia Madsen
Studio: Lionsgate
Runtime: 93 minutes
The Devil’s Light (retitled Prey for the Devil in some regions) steps into the crowded world of religious horror with a bold premise: what if a woman was allowed to become an exorcist in a tradition-bound church? It’s an intriguing idea, ripe for exploration. Unfortunately, despite its stylish execution and a solid central performance, the film struggles to rise above the genre’s most well-worn tropes.
Sister Ann (Jacqueline Byers) is a young nun with a troubled past and a unique gift—she can sense and connect with demonic forces. As cases of demonic possession rise globally, the Vatican reopens exorcism training for priests in the U.S., but Ann secretly becomes the first woman allowed into the program.
When she forms a special bond with a possessed young girl, Ann’s training is put to the ultimate test. But as she digs deeper into the dark mystery, she discovers that the demon she’s fighting may be connected to her own traumatic childhood—and her mother’s tragic fate.
Jacqueline Byers delivers a strong, emotionally grounded performance as Sister Ann. She brings quiet strength, vulnerability, and intensity to a character torn between faith and fear. Her performance is the emotional anchor of the film.
Colin Salmon adds gravitas as Father Quinn, the head exorcist and Ann’s reluctant mentor. Christian Navarro, known from 13 Reasons Why, plays a fellow trainee with charm but limited development. Virginia Madsen has far too little screen time for her caliber, sadly relegated to exposition.
Director Daniel Stamm (The Last Exorcism) knows how to build tension, and the film benefits from slick cinematography, eerie sound design, and oppressive atmosphere. The exorcism scenes are stylized and unsettling, but never quite cross into genuinely terrifying territory.
The religious imagery—crosses, candles, whispered prayers—is visually effective but feels familiar, as if drawn directly from a checklist of exorcism film ingredients.
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Female empowerment in male-dominated institutions
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Faith versus trauma
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The legacy of abuse and inherited guilt
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The blurred line between mental illness and possession
The most compelling theme—a woman breaking through the patriarchal barrier of religious ritual—is introduced but never fully developed. It’s a missed opportunity to explore a fresh perspective in the genre.
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Strong central performance by Jacqueline Byers
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Creepy, atmospheric direction with polished visuals
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A fresh take on gender roles in religious horror
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A few effectively disturbing moments
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Relies heavily on genre clichés (levitating bodies, growling voices, Latin chants)
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Underdeveloped supporting characters
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Predictable third-act twist
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Doesn’t push its core feminist theme far enough
The Devil’s Light shines briefly with an original concept and a committed lead performance, but it’s ultimately dimmed by its reliance on horror conventions and underused potential. It’s a film that flirts with greatness but settles for familiarity. Fans of exorcism horror may find it entertaining—but don’t expect a revolution.
