El protegido de Satán

Summary

In the labyrinthine depths of urban despair, a spectral muse whispers to Elena (Carmen Rodríguez), a painter of formidable, yet unrecognized, talent. Her canvases, once vibrant with life's ephemeral beauty, now gather dust, mirroring the erosion of her spirit. Desperation, a relentless predator, corners her, pushing her to the precipice of a pact most unholy. Enter the enigmatic Maestro Alarico (Josep Balaguer), a figure of ancient malevolence cloaked in philanthropic guises, leading a clandestine brotherhood known only as 'The Obsidian Hand.' He offers Elena not just patronage, but a conduit to artistic transcendence, a primal wellspring of inspiration that bypasses conventional effort. Her art explodes with a terrifying, visceral power, captivating the jaded art world and propelling her to unprecedented fame. Yet, this apotheosis is steeped in a creeping dread. The vibrant hues of her new masterpieces bleed with an unsettling, almost sentient, darkness; the figures within them contort with an agony that feels disturbingly real. Elena's triumphs are tethered to a chilling transformation: her dreams become nightmares, her waking hours haunted by spectral whispers and the chilling sensation of a presence not her own. Julián de la Cantera's stoic Detective Vargas, initially dismissive of the macabre rumors surrounding Elena's meteoric rise, finds himself drawn into a vortex of escalating disappearances and grotesque discoveries, each pointing to a ritualistic undercurrent beneath the city's veneer. As the Maestro's influence tightens its serpentine grip, Elena's once-pure artistic vision becomes a horrifying reflection of the entity she serves, her brushes no longer just instruments of creation but conduits for a malevolent will. The film culminates in a harrowing, operatic crescendo, where the true cost of unholy genius is laid bare against a backdrop of ancient rites and the chilling revelation of humanity's enduring susceptibility to the allure of forbidden power.

Synopsis