Saint Catherine (2024) is a horror anthology film that weaves a central narrative around Ellie (Valentina Mas), a young orphan who narrowly escapes a satanic ritual conducted by a serial killer priest, Ted Gacy. Rescued and brought to the Saint Catherine Institute, a clandestine facility posing as a convent, Ellie enters a world of spiritual warfare. The institute, led by an excommunicated mother superior, serves as a sanctuary and training ground for girls who have survived demonic possessions or exorcisms. Its purpose is twofold: to house cursed objects from satanic rituals in a secure archive and to prepare its residents for a perilous trial. In this trial, each girl must randomly select a cursed object and attempt to purge its malevolent energy, a process that tests their physical, mental, and spiritual resilience. Failure can result in death, possession, or fates described as far worse.

The film’s anthology structure unfolds through multiple interconnected stories, each tied to the institute and its collection of cursed artifacts. These segments function as standalone tales, exploring the dark histories of specific objects—how they became infused with evil and the demonic incidents that led to their containment at Saint Catherine’s. The stories are framed by Ellie’s journey, as she navigates the institute’s strict regimen and grapples with the psychological and supernatural remnants of her traumatic past. Her personal demons, both figurative and literal, intertwine with the broader narrative, creating a thread that ties the anthology’s episodes together.

Initially, the film’s pacing may feel fragmented due to its anthology format, with shifts between Ellie’s present-day experiences and the historical tales of the cursed objects. However, as the stories progress, their connections to the institute’s mission and Ellie’s arc become clearer, rewarding attentive viewers. The directors—Michael Escobedo, Juan de Dios Garduño, Hana Kazim, Gonzalo Mellid, and Raffael Oliveri—each bring a distinct style to their segments, yet maintain a cohesive aesthetic of dread, using practical effects to depict grotesque demonic manifestations and religious horror imagery. The cinematography emphasizes a bleak, oppressive atmosphere, with the institute’s gothic architecture and dimly lit corridors amplifying the sense of isolation and danger.

Thematically, Saint Catherine explores survival, sacrifice, and the battle between good and evil within a religious framework. The institute’s unorthodox methods, blending Catholic iconography with esoteric rituals, raise questions about faith, redemption, and the cost of confronting darkness. Ellie’s character serves as the emotional core, her resilience and vulnerability grounding the supernatural elements. The anthology segments delve into various aspects of damnation, from the hubris of those who created the cursed objects to the suffering of their victims, offering a mosaic of horror rooted in human and demonic conflict.

The film runs for approximately 90 minutes and is noted for its unrelenting grim tone, avoiding humor or levity to focus on psychological and visceral horror. While the anthology format may challenge some viewers due to its non-linear storytelling, the gradual convergence of narratives and strong performances, particularly by Valentina Mas, help unify the experience. The practical effects, including unsettling creature designs and ritualistic sequences, are a highlight, catering to fans of classic and modern horror alike.