The Antichrist

In the shadowed corridors of a centuries‑old Roman villa, the dignified Massimo Oderisi grapples with a crisis that threatens the very foundation of his family. His adult daughter, Ippolita, has lived for decades bound to a wheelchair after a tragic accident, a condition now whispered to be more than physical. When unsettling signs suggest that an ancient, malevolent ancestor may have taken hold of her, the nobleman finds himself drawn into a maze of desperation, belief, and hidden histories.

The household becomes a crossroads of opposing worlds. Bishop Ascanio Oderisi, a cardinal and the girl’s uncle, represents the solemn weight of the Vatican, while Dr. Marcello Sinibaldi, a secular parapsychologist, offers a scientific lens on the uncanny phenomena surrounding Ippolita. Their starkly different approaches ignite a tense dialogue about faith, psychology, and the unseen forces that may linger in the bloodline. Adding to the turbulence, Greta, a new romantic interest, and Irene, the devoted maid, each embody personal loyalties that pull Massimo in divergent directions, underscoring the fragile balance between love, duty, and fear.

Against a backdrop of marble arches, looming cathedrals, and the lingering echo of Rome’s haunted past, the story unfolds with a brooding, atmospheric tone. Whispered rumors of witchcraft, the faint hum of ancient rituals, and the palpable sense that something older than any modern doctrine stirs within the walls create a relentless undercurrent of dread. As Massimo seeks a way to free his daughter from this encroaching darkness, the film invites the audience to linger in the uneasy space where aristocratic elegance meets an unsettling, almost reverent terror—leaving the question of salvation hanging in the cool, candle‑lit air.

Last Updated: December 04, 2025 at 18:18