There is something worse than being chosen
by an outer God… be rejected.
A film spell by Carlos Molinero
María, a 70-year-old mathematician, is dying in a run-down (except for a children’s room) flat. It is her long-dead daughter’s, who she is trying to connect with by using strange formulas and disturbing sound waves, offering her cancerous pain and making her cola-cao with biscuits.
She finally manages to hear her spectral daughter’s whisper, but it’s a whisper accompanied by a roaring, dangerous force: a force that enters her home. It wants to devour her, her daughter’s soul, or even reality itself.
Though she is a sick, older woman, her mind is that of a mathematician who has learned to use geometry and its formulas to make magic spells and reach reality’s essence
Risking her life, she manages to trap the roaring creature. Now the channel has been opened. She decodes her daughter’s spectral voice and builds the geometric image that could bring her back to life.
But that mathematical act will disturb the very nature of reality. That resurrection might be a new beginning for a dead girl, but it could also be the end of the Universe.
Cristina, a goth woman in her forties, was a comic book writer when she was young. She attends Fuenlabrada’s Cosmic Horror Week as a guest on a discussion panel honoring an old co-worker, who, apart from being well-known, is rude and arrogant, and he is supposed to attend an “Awards Ceremony”.
When the famous guest announces he can’t attend the ceremony, Cristina is invited as a last-minute substitute. She can’t imagine that she is the “award” given at this Ceremony. Every year, Fuenlabrada sacrifices one of the guests to Cthulhu, an ancient horror god.
What seems to be a joke is not, and Cristina embarks on a frantic escape from Fuenlabrada, which turns into a nightmarish, Lovecraftian, though still authentic and traditional, labyrinth.
Emile, a metalhead immigrant from Uganda, and Almudena, a young, spirited reggaeton fan, help Cristina escape.
At the same time, children roam around Fuenlabrada playing hopscotch with impossible geometries, blowing dissonant flutes, singing songs that adults cannot understand, and performing blood rituals, which are terrifying to grown-ups but pure fun for them. They are hunting for something roaring, dangerous, and invisible.
The three stories converge in an ending in which Cristina dies in a senseless, stupid, but heroic way, María, finally easing her anguish, achieves a brief contact with her daughter, and Almudena reveals herself not as the future priestess of a dead god, but as a new Goddess invoked by the children. A deity that will bring either liberation or damnation to humanity.
