Check Out The Disgusting Polish Horror That’s Making Netflix’s Biggest Hit



It’s nothing new that Polish productions are successful on Netflix. Rotate and move there is a series or a film, of any genre, appearing among the most watched in the Top 10 of the platform. This indicates not only a great investment of the streaming platform in this country, but also (or above all) a great interest of the public to (continue to) watch what is happening there. The most recent Polish hit is called “The Monastery”, which, although disgusting, does not leave the first places among the most watched by the public.

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In the 1950s, a priest at a remote monastery in rural Poland was stopped by police from sacrificing a baby in a bizarre ritual. Thirty years later, since this incident, the local police try not to interfere in the affairs of the monastery anymore, however, after anonymous reports, Marek (Piotr Zurawski) is infiltrating the environment as an undercover priest, in order to investigate the sudden disappearance of young women from the village. However, what he didn’t expect was that his cassocked colleagues would behave in such a bizarre way, arousing suspicion from everyone and everything.

At first, ‘The Monastery’ doesn’t seem like the movie that will appeal to you. With an interesting opening scene, the feature film falls in a few minutes into a similarity that seems to drag on over its duration of an hour and a half. Still, Bartosz M. Kowalski and Mirella Zaradkiewicz’s screenplay holds the big twist of the last act, inserting, enthusiastically, horror sequences that certainly cause, at the very least, revulsion, an urge to vomit for what we watch. Not that throughout the plot it doesn’t happen – it does happen, but gradually, only as a result of a certain act, and almost always unexpectedly, because, outside of these scenes, it doesn’t Not much happens in the plot until the aforementioned third act.

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Starting from an interesting storyline, Bartosz M. Kowalski’s feature film uses an increasingly enlightened idea of ​​a social puritanism achieved by those who behave within the norms specified by a selected group, and those who do not automatically become pariahs and therefore objects. of use and disposal. Bartosz starts from this motto and inserts it into an extremist Catholic context, elevating it to the maximum power of the confrontation of good against evil, which has been the great dilemma of humanity since the emergence of religions.

From this panorama, the horror scenes are shaped from this proposition, mixing lighter leaps with horror close-ups of the most genuine disgust, from the consumption of spoiled and disgusting food to the explicitly mutilated bodies. As well as a quick display of demonic possession involved in religious fanaticism with doses of Satanism and the main course of ‘The Monastery’, and its consequent success on Netflix in October.

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