The Bloody Exorcism of Coffin Joe aka Exorcismo Negro (“Black Exorcism”) is a 1974 Brazilian horror film directed by José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (Coffin Joe). It is one of several Marins’ films that feature Coffin Joe as a major character, although it is not considered part of the “Coffin Joe trilogy”: At Midnight I’ll Take Your Soul, This Night I Will Possess Your Corpse, and Embodiment of Evil.
The movie was lensed in Marins’ trademark style, including the use of inconsistent visual and sound editing, a bizarre audio track, and extremely low budget effects.
Playing himself, and having filmed the final scene of his most recent movie, Jose Mojica Marins gives an interview discussing his plans for his next film. After an interviewer asks Marins about the true existence of Coffin Joe, Marins replies “Coffin Joe does not exist”. A camera light then explodes.
He states he will leave for vacation at the country home of his friend Alvaro to write the script for his next film, which he plans on calling “The Demon Exorcist”.
Soon odd things occur around the mansion such as winds blowing and horses being spooked, and that night Alvaro’s father, Mr. Júlio, frightens everyone when he begins tearing off his shirt and declaring in a frenzied voice that has come to collect a debt.
Marins investigates the house that night and finds a locked hallway, but is attacked by flying books and the lights turn off. Betinha sees tarantulas and a snake in the Christmas tree. During these events the scene cuts to a strange woman who carries a white cat and is surrounded by occult figurines and symbols, and has a framed portrait of Coffin Joe behind her on the wall…
“Tons of naked chicks dancing about, worshipping at the feet of their dark lord, ready to offer their virginal bodies to the deities of hell? C’mon… that’s just good horror filmmaking; or at least it was in the 70s.” Marc Patterson, Brutal as Hell
“While Mojica was certainly famous by this time, you can still tell his budgets were nowhere near what he needed for his expansive visions. While the house where he films the outdoor scenes is palatial (nice gardens and a truly amazing swimming pool), the indoor scenes are obviously studio-shot, sometimes with long drapes serving as walls and curtained door frames in the place of doors. This doesn’t keep Mojica from filling the frame with dread and creeping unease, though, and his inventiveness as always is to be lauded.” Mad Mad Mad Mad Movies
“Family Christmas/demonic possession story that really hits its stride when Coffin Joe appears sparking a shit storm of human staircases, Satanic weddings and rampant cannibalism that culminates in a postmodern exorcism showdown with the film’s director.” How Much for the Ape?
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