While on holiday in Mexico, unhappily married Marie Davenport summons the courage to tell her unknowing husband, Alex, that she is leaving him for her lover. But before she delivers the news, Alex is involved in a boating accident – and Marie is unsure whether he’s dead or not. Faced with supernatural events, Marie turns back to Catholicism and seeks the help of Father Niles and Sister Martha.
The Penitent (1988) isn’t faith-affirming drama—it’s lurid exploitation mocking Catholic penitents. In a devout New Mexico/Mexico village reenacting Christ’s Passion (flagellation, crucifixion), jealous husband Ramon (Raúl Juliá) joins fanatical Penitentes while his virginal wife Celia falls for ex-con friend Juan (Armand Assante), sparking deadly love triangle amid rituals. Directed by Cliff Osmond, it sensationalizes “primitive brutal” self-mortification as barbaric cult, blending sex, betrayal, and gore—not exploring redemption or biblical penance. Secular gaze shames Hispanic Catholic traditions as repressed pathology. Cherry-picks extremism to caricature piety, ignoring healthy devotion. Obscure PG-13 thriller for grindhouse fans, not believers.
A dying nightclub run by a drunk and his ex-stripper wife comes to life again when a drifter arrives and becomes a singer in the club. An affair begins between the wife and the drifter, and she persuades the drifter to k..l her husband.
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