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Prey For the Devil

Friday 3rd March 2023

An unlikely warrior on the holy battlefield for human souls, a nun prepares to perform an exorcism and comes face to face with a demonic force with mysterious ties to her past in Prey For the Devil.
Jacqueline Byers, Christian Navarro, Colin Salmon, Virginia Madsen, Posy Taylor, Nicholas Ralph, Ben Cross
Daniel Stamm
Paul Brooks, Earl Richey Jones, Todd R. Jones
Lionsgate Home Entertainment
1 hour 29 minutes
28/10/2022
March 17 2024 16:49:39
155
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Sister Ann (Jacqueline Byers) believes she is answering a calling to be the first female exorcist. But who, or what, called her? An unlikely warrior on the holy battlefield for human souls, Ann seeks out a place at an exorcism school opened in response to a global rise in demonic possessions. Until now these schools have only trained priests in the Rite of Exorcism - but a professor (Colin Salmon) recognises Sister Ann's gifts and agrees to train her.

Thrust onto the spiritual frontline with fellow student Father Dante (Christian Navarro), Sister Ann finds herself in a battle for the soul of a young girl, who Sister Ann believes is possessed by the same demon that tormented her own mother years ago. Determined to root out the evil, Ann soon realises the Devil has her right where he wants her.

In Prey for the Devil, Sister Ann has no misconceptions about the reality of demonic possession; from a personal history, she knows it's the real thing. Ann also knows that to answer what she believes is her life's calling, she will have to defy centuries of tradition. As she joins an exorcism school and begins training in the rites of exorcism - the first nun allowed to do so - she will come to question how her own past is affecting the events happening to her at the school. If Ann is going to be able to save Natalie, a young patient entrusted to her care, she will be forced to reckon with who - or what - steered her on her life's path.

For director Daniel Stamm, no newcomer to the genre, having helmed the acclaimed horror film The Last Exorcism, Prey for the Devil is a new spin on the subject. "Ann is on a journey that comes with an intriguing backstory. I wanted to really ground the movie in her point of view," he says. "It's a non-stop thriller and psychological drama."

"I love being in film-worlds that people love - in this case, the exorcism subgenre- but to come in at a bit of a slant; to try to tell a terrific story with an unexpected tweak to it," says Paul Brooks, who produces the film alongside Todd R. Jones, Earl Richey Jones, and Jessica Malanaphy.

"We had never seen a female protagonist in an exorcism film," notes screenwriter Todd R. Jones, who produces the film alongside Paul Brooks, Earl Richey Jones, and Jessica Malanaphy. "Given what's going on in the world, Prey for the Devil provided an opportunity to hold up a mirror to religion and to society, via the experience of Sister Ann."

"She comes in and breaks the walls down," Paul Brooks continues. "She's not a victim - she's all in. It makes her a great character, and I was drawn to tell an exorcism story that girls and women could vigorously see themselves in."

Screenwriter Robert Zappia says that his research revealed an exponential growth in reports of demonic possessions. "I'm a person of faith and grew up Catholic, so those statistics intrigued me," he points out. At the same time, he saw a way to make the story fresh and modern. "I really connected with the idea of a nun having this special gift and feeling that exorcism is her calling. Ann is a true underdog who feels she can perform the rite of exorcism as well as any of the male clergy in the program. Ann is vulnerable, due to her past, yet courageous. She is innocent but not naïve; strong, but still at risk."

Stamm says that the principal draw for him was the chance to portray Ann's history with her late mother. "What really hooked me about the character was that she loved her mother so much," he says. A victim of abuse at her mother's hands, Ann has grown into a woman confident of the reason for her mother's cruelty. "Ann needed her to be possessed and not abusive," Stamm continues. "She had to put her mom's disturbing behavior on demonic possession, which I thought was a beautiful thing for the character. If Ann learns at St. Michael's that demons don't exist, that would be even worse for her than having to face one."

"There's a point when you start to wonder - is she possessed? Who indeed is calling her? And why is she being called?" says Paul Brooks. "I thought that twist made it a really strong piece of material."

Jacqueline Byers, who takes on the role of Ann, says that while Prey for the Devil plays as an intense horror movie experience, she approached it as a psychological drama, specifically "the psychology of Ann and what drives her."

Byers goes on to call Ann a "wounded healer, who has experienced so much in her life and doesn't want anyone to go through what she did. What drives Ann is defending her mother's honor. To Ann, there must be a reason for the pain, fear, and terror they both went through. Ann needs it to be true that her mother was possessed."

Ann's search for validation about her mother is complemented by her evolving and unique status at St. Michael's. Executive producer David Brooks points out that "Ann enters the school's exorcism program under the guise of a traditional nursing capacity. But her ambition has always exceeded those limitations that others try to impose upon her."

All the filmmakers note that Byers brings an essential blend of empathy, kindness, rebellion, and warrior-like spirit to the role. "Jackie is a combination of strength, fragility, and authenticity," Stamm emphasizes. "She makes Ann someone who must be strong, but to balance that she makes you feel the character's fear."

Earl Richey Jones remembers that Byers "blew us away from day one. She brings intensity and pathos to the role. Jackie grabs you from the opening sequence, in which Ann is recounting her troubled childhood to Virginia Madsen, as Dr. Peters."

Brooks concurs, adding, "Jackie hit all those disparate levels and textures. She is emotionally powerful and brings unexpected poignancy to the film, in addition to all the scares and action."

As Father Dante, a priest also studying the rites of exorcism, Christian Navarro brings to life a sympathetic, open-minded ally - one who harbors secret connections of his own.

"I really wanted to create a multidimensional character," says Navarro, "so as I researched - documentaries and films about exorcism - I looked for what I could bring that was new and unique and worth seeing. The character has an interesting dynamic of being from the streets and a life of violence, and switching to a life of piety and devotion to Christ. Figuring that out - how he goes from gang activity to the priesthood, and what that was rooted in - that intrigued me."

For Navarro, the character's choices - which carry high stakes - are the only ones he could make. "His true north is always resounding: Father Dante is a fiercely loyal person," says Navarro, "loyal to his ideals and his family, loyal to what he believes to be the right thing, which sometimes conflicts with the church or his previous life as a gang member. At the beginning of the film, it's finding a way to help his sister, and as the film progresses, it's a desire to help Sister Ann and make sure that she survives this ordeal. His entire life has been about taking care of the women in his life, so when a very strong, powerful woman comes into his life, he relishes the opportunity to help and support her."

Paul Brooks says that Navarro brought nuance and depth to his character. "He has such great instincts," says the producer. "There's an edge of machismo there, but just an edge. He chose to play it in a very brotherly, charming way. He nailed it."

As many actors attest, Navarro says that putting on his character's costume helped him focus on the man he plays. "Getting into the vestments informs your physicality, every aspect of the character," he says. "As an experiment, I walked around Bulgaria in costume. It was 97 degrees, and it struck me that priests will do that willingly - and what that means, why they would do that."

Navarro says that he was also drawn to the project by the fact that Sister Ann is at the center of the horror-thriller. "I've been lucky enough to be a part of a few projects with strong female leads," says the star of the Netflix hit 13 Reasons Why. Prey for the Devil was the first time I had seen this genre accessed this way, with a woman as the lead, as an exorcist taking the helm of the ship. I was very attracted to that. I have three younger sisters and always interested in telling those kinds of stories."

That's seen in the film, too - as Ann joins the exorcism class amidst a sea of surprised if not disapproving faces, Ann and Dante share a moment indicating his acknowledgment that she belongs there. "Their quick glances at one another, as Ann takes her seat in the classroom, tells you everything," says Stamm.

One of the first officials Ann must confront at the school is Dr. Peters, who questions Ann about her mother and harrowing upbringing, and how those played into her decision to become an exorcist. Portrayed by Virginia Madsen, Peters is an intriguing and complex figure who straddles the two widely different worlds of science and religion. Stamm notes, "Her presence at the school gives the church a modern touch. This is not a group that denies science but one that is fighting this epic battle against demonic forces; the church needs all the help it can get, including science. Peters is there to contradict some of their beliefs and methods, because the church isn't in a bubble."

Madsen, a horror icon through her starring role in the classic Candyman, confirms that the good doctor "has to have a toe on both sides: science and religion. She is open, at least, to the religious aspects of a potential possession and the value of exorcism. I thought that was an interesting element to dive into."

Peters' interactions with Ann initially come off as antagonistic, though the doctor eventually becomes close to the young woman. "During their first meeting, which opens the film, Peters insists that Ann's mother wasn't possessed, and that her abuse of Ann stemmed from sickness and, possibly, schizophrenia," Stamm continues. "She challenges Ann to look at her childhood trauma. Ann denies the mother's illness with such force that we see how deep her pain is, which makes us care for Ann ever more."

"Peters is interested in Ann because Ann is an open book," Madsen elaborates. "Peters wants to learn how she became a woman of faith after these terrible things happened to her. Ann is a curious case for her. Peters may not be religious, but she has trust in this young woman, who has fervent commitment to faith. Peters senses something powerful in Ann."

Byers states that Ann, at first, sees Peters as "representing all the doctors who had misdiagnosed her mother. But eventually, through Peters, Ann realizes she must heal herself. Peters is the link to Ann figuring out her singular approach to exorcisms."

Father Quinn, portrayed by distinguished British actor Colin Salmon, would seem to be an unlikely supporter of Ann's unconventional approach to exorcisms. A mainstay of the school, Quinn's approach to demonic possession is almost militaristic. He sees it as a war between the forces of good and evil, telling his students demons are Lucifer's foot soldiers, and that exorcism rituals are like walking onto a battlefield. The word of God is their most powerful weapon, with their arsenal also including the Roman Ritual, aspergillum, and crucifix.

"Quinn and Ann are on opposite sides of how to address possession, at least at first," notes Stamm. "Ann wants to break the glass ceiling and be the first woman to exorcise a demon, while Quinn must continue to walk the 'party line' that says women are forbidden to participate in these foreboding rituals. Quinn cannot openly revolt against the Church's beliefs, but he feels very connected to Ann and wants to help her as much as he can."

Zappia adds, "He's a nurturing figure but definitely not a pushover."

Salmon's stature - both literally (he stands at 6'4") and with his career - were a perfect fit for Father Quinn. "Colin is an imposing figure," Stamm explains, "and we were looking for someone who could convey the character's gravitas and be a formidable opponent to the demon. Quinn functions in the ancient world of the church but exudes a modern intelligence."

Brooks claims that Quinn's relationship with Ann is nothing less than "the heartbeat of the film," adding, "He sees something unique in her, and he's willing to bump up against some of his colleagues to help her."

Salmon says he was just as impressed, if not more so, with the character of Ann than with his own on-screen incarnation. "I was intrigued by Quinn, but Sister Ann is nothing less than a new kind of film archetype," he notes. "I can't remember ever witnessing a character like that.

"Quinn sees Ann as being dangerous," he adds, "in that she has access to that necessary 'fuel' within herself to ignite a successful battle with the demon."

Ann forms an inextricable bond with ten-year-old Natalie, who's been brought to the hospital for treatment. It is Ann's empathy, strength and vulnerability that make her unique as an exorcist - and uniquely qualified to connect with her new, young patient.

The search for an actress to take on the challenging role - and, says Stamm, "convey the horrific force that's overtaken the character" - was long and thorough. After seeing countless professional actors, the filmmakers decided to open auditions at local schools. Posy Taylor got the gig, impressing everyone with her abilities. "Posy is nothing less than uncanny," Stamm exclaims. "You get the feeling that this young lady is pulling emotions out of a place that shouldn't even exist for a 10-year-old."

Byers adds, "Posy has this remarkable ability to switch on a dime, into the most terrifying child you've ever experienced on film. She has this shift in her eye that's, like, she knows something you don't."

Taylor's work is even more impressive, given that Prey for the Devil is her motion picture debut - and that a seven-minute audition tape convinced the filmmakers she was their Natalie. Moreover, due to COVID-19 restrictions, Taylor and Byers had to bond via online meetings prior to the start of principal photography. Nevertheless, they connected immediately, Byers remembers. "During our Zoom 'dates,' Posy and I developed that sense of 'knowing without knowing' - when you connect with somebody and don't initially understand how. Similarly, when Ann and Natalie meet, Ann feels something that she had long repressed. A flame is lit, though Ann doesn't yet realize what that is. But she knows there's something about Natalie she needs to protect."

Taylor was fearless about her first film but admits that her demonic makeup and the equally menacing lullaby Natalie sings to herself, were "pretty scary," adding that "Natalie has it quite hard because there's a voice inside her head telling Natalie to do terrible things - and she can't stop it!"

"When we were filming the dungeon scene, when I got to face the devil himself, I had to run through the dark dungeon halls in a kind of game of hide and seek," Taylor continues. "It was scary and exciting at the same time and felt so real. I also loved doing my own stunts including learning how to pretend to break someone's arm!"

Also starring in Prey for the Devil is Ben Cross, the legendary star of films such as Chariots of Fire and First Knight, who portrays the school's towering leader, Cardinal Matthews. Sadly, Cross passed away ten days after completing his work on the film - and leaving an indelible impression on the entire cast and crew. "Ben is the epitome of gravitas," says Byers.

Malanaphy shares, "Ben is a legend, and it was special for us to have him be a part of this. He brings an always impressive weight to a character, in this case someone who represents the ultimate power of the Catholic church. Matthews is forceful, scary, and stern with Ann, but he's also able to look ahead and see her side of the argument."

Stamm echoes those sentiments: "Even walking into a room, Ben had an incredible aura, and we needed that for such a formidable figure."

Another intimidating figure is Sister Euphemia, the supervising nun at the facility, who's old-school when it comes to a woman's place - or lack, thereof - at the terrifying exorcism rituals. Portrayed by Lisa Palfrey, Euphemia is, says Stamm, "a roadblock to Ann's goal, but she's being harsh in order to protect her. Euphemia's toughness comes from a good place."

Sofia University provided the perfect location of architectural beauty worn over time. "Everything was run down," Stamm remembers. "You could point the camera anywhere you wanted, as long as you were inside the building. It offered a believable world with a history you'd buy for an exorcism academy."

Perhaps the most impressive set was a catacomb where the film's climactic and epic battle unfolds. "It was incredible to witness the set, created by production designer Jonathan McKinstry, come to life," says director of photography Denis Crossan BSC (I Know What You Did Last Summer).

"The look of the film is like a character all its own," says editor Tom Elkins, ACE. "It's rich and beautiful, yet still haunting and foreboding. It's a delicate balance with horror; darker is scarier, but not so dark you can't see what's going on. Too bright and the mystery & threat are diminished. In fact, even before we started showing the film to people early in post-production, we had a professional colorist do an early pass. We felt it was that important."

The world and characters of Prey for the Devil create a modern-day tale that launches the practice of exorcism into the 21st century, highlighting the surprising link between spirituality and science - and a battle between the forces of light and darkness that transcends everything we thought we knew about the storied ritual.

Says Byers, "Many horror films are about the possession and the possessed, and about someone trying to convince disbelievers that the threat is real, and then trying to stop that threat. So, the horror is all about the possession, itself. But Prey for the Devil is more about the 'why' it's happening, and I think that's way scarier."

For Stamm, the experience of making the film was highlighted by the work of his star, who portrays a character unlike any audiences have experienced. "Jackie is a great actress, and it was such a joy to collaborate with her as she brought Ann's journey to life.

"And now that the film is done," he concludes with a smile, "I'm ready to step back and rejoin 'secular' life."

Jacqueline Byers is an actress from Toronto, Ontario, Canada. She got her start on the small screen in the limited SyFy series Ascension. She then went on to recur in Cameron Crowe's Roadies for Showtime. Jackie was the female lead of the CBS summer series Salvation.

Colin Salmon (Father Quinn) has recently finished filming the feature Hammarskjöld directed by Per Fly. He can be seen in Intelligence, the Sky/Peacock comedy series across from David Schwimmer and Nick Mohammed. Before this, he worked on the US feature film Nobody, across from Bob Odenkirk. Other notable credits include Peter Jackson's futuristic Earth dystopian franchise Mortal Engines, two series of the Syfy/E4 series Krypton, Master Of None for Netflix, 24: Live Another Day, No Offence, Resident Evil and introduced the unforgettable Mr Sands in Limitless. Keenly into jazz, he has his own quartet and regularly plays in a steelpan orchestra.

Christian Navarro (Father Dante) recently wrapped the Universal Studios feature The List directed by Melissa Miller Costanzo.

He is well known for his role as 'Tony' on the critically acclaimed Netflix series 13 Reasons Why.

Christian was also seen in the Melissa McCarthy/Fox Searchlight comedy Can You Ever Forgive Me? which premiered at the Toronto International Film Festival. The film received three Academy Award® nominations (including Best Adapted Screenplay 2018). His other film work includes a role in Jonathan Milott and Cary Murnion's (XYZ Films) Bushwick, which screened at the 2017 Sundance Film Festival and in the Directors' Fortnight section at the 2017 Cannes Film Festival.

Christian's additional television credits include a memorable recurring role of Jorgé, a young and savvy record producer on Martin Scorsese's HBO series Vinyl, opposite Bobby Cannavale. He has also guest starred on several major shows including Showtime's The Affair, Amazon's The Tick and Fox's Rosewood, all which he landed right out of graduating from Rutgers University. More recently he played the lead Guest role in the last season of Law & Order: Special Victims Unit.

Lisa Palfrey (Sister Euphemia) was just wrapped on Chloe for BBC One alongside Erin Doherty and Billy Howle. She will also reprise her regular role of Cynthia in Season 3 of hit Netflix comedy Sex Education directed by Ben Taylor. Most recently she can be seen playing 'Eleanor' in COBRA for Sky. She played Big Mama in Cat On A Hot Tin Roof in the West End alongside Jack O'Connell, Sienna Miller and Colm Meaney, directed by Benedict Andrews, having also appeared in Jack Thorne's Junkyard directed by Jeremy Herrin. Lisa also played the role of Maureen in Golden Globe® nominated feature film Pride directed by Matthew Warchus.

Nicholas Ralph (Father Raymond) trained at the prestigious Royal Conservatoire of Scotland and has since performed in various roles on screen and stage. In 2019 he secured the leading role of James Herriot in All Creatures Great and Small. His portrayal of the British veterinary surgeon marked his debut television role, and both series 1 and 2 were received with high acclaim. Series 3 is currently airing in the UK. Other film credits include A Most Reluctant Convert - The Untold Story of C.S.Lewis for 2B Films, and The Wife directed by Bjorn Runge. Ralph's past theater credits include playing Logan in Interference, a 2019 futuristic trio of plays directed by Cora Bissett at the National Theater of Scotland, and Captain Amazing, a one man show directed by Tess Munro-Summerville at Glasgow's Citizens Theater.

Ben Cross (Cardinal Matthews) was born Harry Bernard Cross on December 16, 1947, in London, England. He was the son of Catherine (O'Donovan), a cleaning woman, from Keelraheen, Dunmanway, Ireland, and Harry Cross, an English doorman and nurse. He began acting at a very young age and participated in grammar school plays -- most notably playing "Jesus" in a school pageant at age twelve.

Ben left home and school at age 15 and worked various jobs, including work as a window washer, waiter and carpenter. He was master carpenter for the Welsh National Opera and property master at the Alexandra Theater in Birmingham, England. Driven by his desire to be an actor, Ben accepted and overcame the enormous challenges and obstacles that came with the profession. In 1970, at age 22, he was accepted into London's Royal Academy of Dramatic Art (RADA) -- the alma mater of legendary actors such as Sir John Gielgud, Glenda Jackson and Sir Anthony Hopkins.

Upon graduation from RADA, Ben performed in several stage plays at Duke's Playhouse where he was seen in Macbeth, The Importance of Being Earnest, and Arthur Miller's Death of a Salesman. He then joined the Prospect Theater Company and played roles in Pericles, Twelfth Night and Royal Hunt of the Sun. Ben also joined the cast in the immensely popular musical Joseph and the Amazing Technicolor Dreamcoat and played leading roles in Peter Shaffer's Equus, Mind Your Head and the musical Irma La Douce -- all at Leicester's Haymarket Theatre.

In 1976, Ben's debut screen appearance came when he went on location to Deventer, Holland, to play Trooper Binns in Joseph E. Levine's World War II epic A Bridge Too Far (1977), which starred a very famous international cast -- namely Dirk Bogarde, Sir Sean Connery, Sir Michael Caine and James Caan. In 1977, Ben became a member of the Royal Shakespeare Company and performed in the premier of Privates on Parade as Kevin Cartwright and played Rover in a revival of a Restoration play titled Wild Oats.

Ben's path to international stardom began in 1978 with his extraordinary performance in the musical Chicago in which he played Billy Flynn, the slick lawyer of murderers Roxie Hart. During his performance in this musical, he was recognised and recommended for a leading role in the multiple Oscar®-winning Chariots of Fire (1981). The major success of Chariots of Fire opened the doors to the international film market. Ben followed up Chariots of Fire with strong and successful performances, most notably in the Masterpiece Theater miniseries The Citadel (1983), in which he played a Scottish physician, Dr. Andrew Manson, struggling with the politics of the British medical system during the 1920s, and his performance as Ash Pelham-Martyn, a British cavalry officer torn between two cultures in the Home Box Office miniseries The Far Pavilions (1984). During the 1984 Summer Olympic Games, Ben appeared in a commercial for American Express with Jackson Scholz, a sprinter for the 1924 American Olympic team whose character was featured in the film Chariots of Fire. In 1986, he subsequently replaced James Garner as the featured actor endorsing the Polaroid Spectra camera. Ben was also featured in GQ Magazine as one of the annual "Manstyle" winners in January 1985, followed by a featured photo shoot in March 1985.

Having stuck by his desire to choose quality roles over monetary potential, Ben enjoyed long-term success in the film industry, for over 40 years. He played several outstanding roles including his portrayal of Solomon, one of the most fascinatingly complex characters of the Bible, in the Trimark Pictures production Solomon (1997). Other outstanding roles included his Barnabus in the MGM remake of the miniseries Dark Shadows (1991); Sir Harold Pearson in the Italian production Honey Sweet Love... (1994); Ikey Solomon in the Australian production The Potato Factory (2000); and his role as Rudolf Hess in the BBC production Nuremberg: Nazis on Trial (2006).

Ben was a director, writer and musician, as well. Among many of his original works is the musical Rage about Ruth Ellis, which was performed in various regional towns in the London area. He also starred in it and played the role of the hangman. Ben's first single as a lyricist was released by Polydor Records in the late 1970s and was titled Mickey Moonshine. Other works include The Best We've Ever Had and Nearly Midnight, both written by Ben and directed by his son, Theo Cross. In addition, the original soundtrack for Nearly Midnight was written, produced and performed by his daughter, Lauren Cross. These works were performed in Edinburgh, Scotland, in 2002 and 2003, respectively. Square One, directed by Ben, was performed at the Etcetera Theater in London in 2004.

Ben resided all over the world, including London, Los Angeles, New York, Southern Spain, Vienna and Sofia. He was familiar with the Spanish, Italian and German languages and enrolled in a course studying Bulgarian. When he was not filming, he wrote music, screenplays and articles for English language publications. Ben Cross died at age 72 of cancer on August 18, 2020 in Vienna, Austria.

Posy Taylor (Natalie) is an actress from Bath, England. Prey for the Devil is her first professional on-screen role.

Virginia Madsen (Dr. Peters) received an Independent Spirit Award and was nominated for an Academy Award® (Best Supporting Actress, 2004) and a Golden Globe® for her performance in Alexander Payne's Sideways. She recently starred as Maria Sutherland, a series regular role on the CW streaming service series Swamp Thing. Madsen appeared in the independent film Her Smell directed by Alex Ross Perry opposite Elisabeth Moss and Cara Delevingne. Her film 1985, directed by Yen Tan, premiered at acclaimed film festivals SXSW and Outfest.

Madsen also appeared opposite Jennifer Lawrence, Robert De Niro, and Bradley Cooper in the 2015 feature Joy, directed by David O. Russell. Madsen's other notable film credits include Francis Ford Coppola's The Rainmaker with Matt Damon, the horror classic Candyman with Kasi Lemmons, Hot Spot directed by Dennis Hopper, HBO's first feature Long Gone, and David Lynch's cult classic Dune. Madsen recently wrapped the independent film Lola which has been produced and financed by the Pelz family. Virginia is set to star opposite Holland Roden in the independent feature entitled A Bright And Guilty Place and will also star opposite J.K. Simmons and Frank Grillo in the independent feature entitled One Day As A Lion.

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