Battle in Heaven

Marcos, portrayed by Marcos Hernández, is a blue-collar worker navigating the complexities of life in Mexico City. Employed by a powerful figure known as “the general,” Marcos faces an unimaginable dilemma when he discovers that the baby he and his wife, Berta (Berta Ruiz), kidnapped for ransom has tragically died. This revelation sets off a haunting chain of events that weighs heavily on Marcos’s conscience, exploring the moral and legal ramifications of his actions.

Amidst his turmoil, Marcos stands alongside Berta at a bustling subway station, where she sells clocks and sweets from a small stand. As he attempts to escape his unsettling reality, he travels to the airport to meet the upper-middle-class daughter of the “general,” Ana (Anapola Mushkadiz), a close acquaintance since childhood. During their encounter, Ana directs Marcos to the “boutique” where she works in the sex trade. However, as they drive, Marcos struggles with his thoughts, causing him to stall the car. Although Ana senses his distraction, Marcos claims he’s merely preoccupied with Berta’s alleged health issues.

In a surprising invitation, Ana suggests that Marcos join her at the “boutique,” where he can engage with one of her friends. But when the encounter fails to ignite any desire within him, the friend indicates that Ana would be a more suitable partner for him. After some reminiscing about their shared past, Marcos confides in Ana about the dark secret of the kidnapped baby, revealing its untimely death. Remarkably, Ana remains composed upon hearing this shocking revelation.

Back in the confines of their home, Marcos shares an intimate moment with Berta, expressing a semblance of unity in their shared grief over the deceased infant. He admits that he disclosed their secret to Ana, finding a sense of relief in his confession. However, Berta is enraged, warning him to ensure that “the princess” keeps the secret to herself. The following day, Marcos visits Ana, who appears irritated by his presence. Nevertheless, she offers to drive him to her place, leading to another physical encounter. It is here that Ana candidly advises Marcos to consider turning himself in to the authorities.

As tensions mount, Marcos, Berta, their son, and some friends—including the heartbroken mother of the deceased baby, who remains unaware of her child’s fate—decide to venture out to the countryside. In a moment of introspection, Marcos informs Berta of his intention to surrender to the police, but she pleads with him to wait until after a pilgrimage celebrating the Lady of Guadalupe, an event that he had previously scoffed at. Departing from the group, Marcos’s state of mind further deteriorates as he wanders into the countryside, ultimately finding himself at a peak adorned with Christian crosses, overwhelmed by despair.

In a pivotal moment, Marcos returns to Ana’s home to declare his decision to turn himself in. She bids him farewell with a kiss, but the weight of his turmoil becomes unbearable. In an impulsive and tragic moment, he returns to fatally stab Ana. With the police on high alert, seeking justice for both Ana and the lost baby, Marcos seeks refuge among the pilgrims journeying to the Basilica. His penance takes a toll as he hobbles forward on foot, and then, on his knees, with someone placing a hood over his face—one that becomes increasingly stained with blood as he enters the Basilica amidst a church service.

As the pilgrimage concludes, the once-crowded Basilica falls silent, allowing Berta to approach her collapsed husband. The film closes with a striking, haunting scene of Marcos expressing his love for Ana in a moment that reflects both longing and remorse, echoing the complexities of his tragic life. In the ethereal exchange, he whispers, > “I love you, Ana,” to which she responds, “I love you too, Marcos.”

Last Updated: November 15, 2024 at 19:38