Interview: Wild Witch (Brazil)

The Nwothm

Wild Witch emerged from Curitiba’s underground in 2011, carving out a fierce identity rooted in classic heavy metal. In this interview, guitarist Lucas Shred and bassist Felipe Leite trace the band’s journey, reflect on Brazil’s metal scene, and share glimpses of the chaos, camaraderie, and craft behind their latest release.

https://www.youtube.com/watch?v=ADFTDsEYPE0

Interview

TheNwothm: Greetings Wild Witch! Can you start by telling our readers where you are based and who is in the band?

Lucas Shred: Greetings! We would like to thank you for this opportunity to share a little about us! We’re based in Curitiba – Brazil. The crew consists of: Felipe Leite (bass), Lucas Shred (guitars), Tiago Rebel (vocals) and Weiberlan Garcia (drums).

TheNwothm: When the four of you first came together in 2011, what was the spark that made it official?

Felipe Leite: Our first Line up was formed by Felipe Leite (bass), Weiberlan (drums), Flav Scheidt (vocal) and Mariano Burich (guitar). The main idea in the beginning was to form a band to have fun, play some covers. In our first rehearsal we played some songs such like Burning the Witches (Warlock), Strong Arm of the Law (Saxon), Running Free (Iron Maiden) and Strutter (KISS). Then, almost in the same day, Mariano and I bring the first two Wild Witch songs: Burning Chains and Trail of Bones. That was the start we needed to the band get more serious. After that many other songs came up like WitchRipper, From the Purgatory and Diabolic Jaws and we recorded our first EP.

TheNwothm: What’s the story behind the band name Wild Witch. Was it a lightning bolt moment or a slow brew?

Felipe Leite: We thought about many names, such like Sandman (because we were really fan of the comic book) and Lamia, a greek mythology demon. Wild Witch was part of a brainstorm made between Flav and I. We came with some option in the rehearsal and the guys voted for Wild Witch. It was a strong name. Two inspirations for that were the song Wild Child by W.A.S.P. and Don1t Burn the Witch by Venom.

TheNwothm: How has growing up in Brazil shaped your approach to heavy metal?

Lucas Shred: Brazil has plenty of metal bands one can be inspired of, but it’s also a very rich land in terms of popular music, which makes our musical vocabulary have some variations and different influences. And about being in a metal band, we also had to learn to fight for it – no support from government for musicians.

https://www.youtube.com/watch?v=fHo-T_MBQnA

TheNwothm: What’s something about the Brazilian metal scene that international fans might not know but should?

Felipe Leite: Something that they should know is that there are a lot of great bands working hard to put out new material. It’s crazy because Heavy Metal in Brazil got more popular in the second half of the 80s, after Rock in Rio 1. But even late it grew so fast. Traditionally, Thrash, Death and Power Metal used to be more popular here and we could mention Sepultura, Sarcofago, Angra and Viper. But bands like Iron Maiden and Judas Priest always had a great base of fans. In the early 2000s we have a very good revival of Thrash Metal here with bands like Violator, ByWar and others that really influenced me on my music formation and my preference for 80s Metal. The first band I had with Mariano and Weiberlan was an oldschool Thrash Metal band.

After that we also had a revival of Traditional Heavy Metal that still going on with a lot of bands. I was a great fan of Saxon and, my idea in the beginning, was to form a band that sound like Saxon in Wheels of Steel era. Today Heavy Metal that people use to call as NWOTHM still very popular in Brazil. Lucas have played in Hell Gun and now he is also on Phantom Star, two Traditional Metal bands. I also played in Axecuter and now I am playing bass on Espectro, both Heavy Metal. But what is more interesting his that all these bands are different from each other. Espectro is a Heavy Metal that sounds more like 70s rock like Sabbath and Lizzy. Phantom Star sounds more like Savatage. Even Wild Witch have changed through the years. But all these bands are always recording albums, producing video clipes and travelling for playing. 

TheNwothm: Growing up, was there a particular artist or band that made you say “I want to do that”?

Lucas Shred: For me (Lucas) it was Kiko Loureiro from Angra.

Felipe Leite: Biff Byford, from Saxon, and Marcel Schmier from Destruction. Not by technique but because I saw Destruction when I was a teenager and that shocked me, one of my first concerts. 

TheNwothm: I would love to know your preferred format for music for both the band and for collecting and why! Vinyl, cassette, CD, digital?

Lucas Shred: For the band’s merch, due to easier sells, the CD is great. For collecting, vinyl is great for the audio unique quality and the size of the cover art, easy to see it’s details.

Felipe Leite: Actually, I collect both. When I was younger I used to buy more CDs as most of my Metal friends in school used to not have Turntable. So we used to do exchange of music on times that downloading was really difficult. I knew many different thing through this process. But I always preferred Vinyl and also bought some when I was teenager as they used to be cheaper then CDs at that time. Today I have about 800 CDs and 600 LPs on my collection. My dream is to release both Wild Witch albums in vinyl.

TheNwothm: So let us talk about the music! Let’s rewind to 2013. What do you remember most vividly about recording “Burning Chains?”

Lucas Shred: I wasn’t there yet, but when I heard it, I thought “this is one of the bands I’d love to be part of”

Felipe Leite: We didn’t have any experience on that. I have recorded a demo with Mariano in another band we had but it was totally unprofessional. So we decided to not start with a full lenght album to learn more about recording process. At the end, it was more satisfying than expected and I still love that EP. We still playing the title track and we re-recorded WitchRipper that still being the last song of our concerts.

TheNwothm: “The Offering”  then landed in 2017 with strong reviews. What was the biggest creative risk you took on that album?

Felipe Leite: Most songs on “The Offering” were made at the beginning of the band. We started to record in 2013 and had a version with Flav Scheidt singing, but the production was really bad. So, we decide to restart from the beginning at Sonata Prima Studio in 2015, after I returned to Brazil (I lived in Dublin in 2014 and 15). We recorded the album throughout the year. Flav was focusing on some other goals at that time related to college, so she was not that involved in the process. I mean hard work like going to studio and practicing the songs. Also, we broke up at the end of the year, before she record the vocals and we decided we could no longer continue playing together.

So, I started to study and got vocal classes and recorded the lead vocals. For that album I think it worked fine, it was more focusing on sounding more “Rock” like early British bands like Saxon and Angel Witch. On Reaper’s Blade we changed a little, and we are sounding more powerful, with more influences of Power Metal bands, so I decided that we needed a stronger voice from a tenor dedicated to this. That’s why we invited Tiago, but I still sang some songs of “The Offering” in the shows, and the album had a good receptivity.

TheNwothm: “Reaper’s Blade” is your latest full-length. What’s one track from that album you’d love to see fans dissect line by line?

Lucas Shred: “Magic’s Sin” already drove some attention, but it’s still our favourite.” The Quahog” and the “Pearl” haves some interesting metaphors in its lyrics and Get Out! Is very provocative.

Felipe Leite: I have a special connection with “WitchRipper” but I agree with Lucas. “Magic’s Sin” is powerful! It’s my favorite and the one we see the best approval from people who likes us. But I love every song in this album. Fist is amazing as well, Quahog and the Pearl, King of Skies.

TheNwothm: What did you enjoy most about putting your latest record together?

Lucas Shred: Working together as a band and as friends. Easy group decisions and also enjoying the process of seeing your ideas getting shaped.

Felipe Leite: I think it was a hard journey. During the process we had many problems that postponed this like the covid pandemic and the passing of our friend and guitar player Paulo Ryba. Release this was like the feeling of doing the great work of our lives. This album is really special for me.

TheNwothm: And looking back at the music you have created so far is there a song you particularly enjoyed writing or playing live?

Lucas Shred: “Heavy Metal Inferno” is very fun to play.

Felipe Leite: I agree with Lucas and that’s the most exciting part on having a band and recording new albums. When you notice that some songs are too strong to leave the setlist even with a lot of great new songs coming up. In our last show there were a lot of younger faces that knew us from Reaper’s Blade and playing “Heavy Metal Inferno,” a simple and catchy song from the first album was amazing!

https://www.youtube.com/watch?v=rr6jcpjgRAM

TheNwothm: If Wild Witch had a signature drink at a bar, what would it be called and what’s in it?

Lucas Shred: A bock or red ale, called Bruxa Selvagem (Wild Witch in portuguese).

Felipe Leite: I prefer malty and winter beer so I would go with Lucas, maybe a brown or red ale. Or maybe something from the German school like a Dunkel Weiss or a Weizen Bock.

TheNWothm: If you weren’t in Wild Witch, what would you be doing instead—no music allowed?

Lucas Shred: Cinema, painting

Felipe Leite: Painting or drawing comics. 

TheNwothm: What’s been your most chaotic gig moment so far—gear failure, crowd madness, anything goes?

Lucas Shred: Without a doubt, one gig in São Paulo (can’t remember the year). Both guitarists were drunk, but under control. Can’t say the same about the drummer, who forgot how to play the songs. My belt broke and my pants started to fall off, so I used the guitar to hold it on its place.

TheNwothm: Are there any upcoming live plans fans should be watching for as we head into 2026?

Felipe Leite: We will give a time of recordings and will keep playing the songs from “Reaper’s Blade.” But I really want to record something new. 

TheNwothm: How can our readers buy your music and merch?

Felipe Leite: Now we are selling all our stuff by social media contacting directly the band, but really soon we will activate the selling of our merch in our bandcamp for Brazil and rest of the World.

TheNwothm: Where can fans follow you online?

Felipe Leite: follow us on Instagram (wildwitch.metal) and facebook. Also we have a channel on youtube with our live videos and studio video clipes for Diabolic Jaws and Magic’s Sin. We are also in all streaming platforms. 

TheNwothm: Anything else you would like to mention?

Felipe Leite: Thank you very much for all the support! It was a great pleasure to answer this questions. We could spend hours talking and writing about something that we love like making Heavy Metal! 

Bandcamp: https://wildwitch.bandcamp.com/

Facebook: https://www.facebook.com/wildwitchmetal/

Instagram: http://instagram.com/wildwitch.metal/

Label: Classic Metal Records

#brasil #brazilianHeavyMetal #burningChains #heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #theOffering #thenwothm #thenwothmCom #wildWitch #wildWitchBrazil

Sylvanshine – The Offering Review

By Killjoy

The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?

The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.

It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.

However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.

Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025

#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy

Closing Time | Flower Children https://sargasso.nl/closing-time-flower-children/ #FlowerChildren #Cultuur&Media #MoederAarde #TheOffering #Metal

AMG’s Unsigned Band Rodeö: Brazen Tongue – Of Crackling Embers and Sorrows Drowned

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

What is distance but an imaginary barrier between creative minds. At least in our (over)connected modern times, proximity does not define whether minds of similar metal inclinations can interact as a band. Such is the story of Ethan Gifford and Scott Skopec (Headshrinker, ex-Polyptych), who both hustled many moons ago about Chicago with a band, Dycanis, that never quite made it beyond demo and gig grind. Gifford then moved to Sweden, and Skopec continued his musical pursuits until they too went dormant. But riffs find a way and Brazen Tongue is a result, the amalgamation of two minds who share ideas hat have tunes in the world of Gifford’s new Gothenburg home, as well as the rip and curl of American thrash (and whatever else crosses their fancy). Throughout Of Crackling Embers & Sorrows Drowned, you may hear the sullen growl of Rapture, the bright quirk of Old Man’s Child, the anthemic melting similar to an act like Black Sites. But most of all, you’ll hear the efforts of two friends who made it happen. Does it make it happen for our crack reviewing team, though? Of the opinions of cranky elitists and socialites dour, you will soon know. – Dolphin Whisperer

Brazen Tongue // Of Crackling Embers and Sorrows Drowned [June 7th, 2024]

Dr. A.N. Grier: It’s been a hot minute since I’ve contributed to a traditional Rodeö piece. So, I guess I’ll grab the debut record from international melodeath outfit Brazen Tongue. I mean, I like melodeath, so why not? Though it appears this band has been around since 2016, this year is the first time we’ve seen any output from this two-piece group. Perhaps they needed to hunt a bassist and drummer down to round out the release. I don’t know. Jumping right in, the back-to-back “The Weight of Self” and “Metaviral” kick-off Of Crackling Embers and Sorrows Drowned on a good note with some solid melodeath mood and riffage. The latter track, in particular, sees the band in its true light, delivering vocals that recall Lamb of God’s Randy Blythe and solid melodic moments on the back half. “Last Train from Myrdal” is one of the better tracks on the album as it delves deep into melodic territories, incorporating clean guitars and big, booming clean vocals. But, it avoids being one-dimensional with its alternating calmness and pissed-off attitude. What is one-dimensional is “Beneath the Broken Trees.” Only when the pace slows and the build begins does anything of value surface on the track. “The Recidivist” also suffers the same ailment, opening with an annoying introduction that finally gives way to a hard-hitting chug and powerful chorus mixed with clean and growling vocals. Unfortunately, the song has a tough time deciding when to end and drags on far too long for what it’s offering. But the closer, “The Maddening Symmetries,” is the most frustrating track on the album. Clocking in at over ten minutes, nothing sticks until we arrive at the seven-minute mark. After this point, the melodic feels hit, climbing high before ending in hopeless depression. There’s plenty to like on Of Crackling Embers and Sorrows Drowned, and there’s plenty of potential. The band’s debut isn’t perfect, but I’ll keep them on my “potential” list when their next release rolls around. 2.5/5.0

Gardenstale: Brazen Tongue is a bit weird. Much of Embers and Sorrows is so frantically kitchen-sink, I’m reminded primarily of The Offering with Insomniummy growls. That’s not necessarily a bad thing: I loved Home, and when Brazen Tongue hits, it hits with a similar spark of inspiration, as opening combo “The Weight of Self” and “Metaviral” can attest. The riffs are never quite what you expect, pressing the dynamic quality of the performers who excel at keeping you on the wrong foot. The problem for Brazen Tongue is not a lack of inspiration, but guiding it consistently into great form. The Zornheym-esque bass choirs are a cool addition, but they are used haphazardly. Emotive doom centerpiece “Last Train from Myrdal” gets more unpleasant as it goes on, adding repetition and draining the album of energy, culminating in an aggravating fire alarm riff and a sudden unceremonious end. The band tries to get things back on the rails, but the epic closer swerves through its bloated runtime without frame or direction. Brazen Tongue is full of great performances and interesting ideas, which are most effective on short, fast songs where the band can skip over the bumps, but the longer and slower tracks invariably spiral out of control or get mired in their own ideas. A songwriting class or two would do wonders. 2.5/5.0

Thus Spoke: When I hitched myself to Brazen Tongue, I’m not sure exactly what I expected; after all, according to another staff member, I “don’t even know what melodeath is.” Nonetheless, my vague anticipations were more or less on the money. Twin guitar, energetic riff clamberings, generally mid-tempo, upbeat-feeling charges, a barking sort of vocal approach. Sprinkles of melancholy in the refrains but only to precipitate a turn to more uplifting, or alternately more sinister spidery stop-starting (“The Recidivist”) or chugging. Plus, a slower, doomier track with layered, softly cascading guitars that you can immediately imagine playing over a crossfade-filled montage from a 90s movie (“Last Train from Myrdal”). If this sounds incredibly vague, and non-committal, it’s because that’s exactly how Of Crackling Embers and Sorrows Drowned comes across. Perfectly serviceable, with some great moments, but totally unmemorable. Across its duration, there are examples of brilliant, energetic axe work and righteous riffery (“Metaviral,” “Beneath the Broken Trees”), and at points, resonant feelings of pathos (yes, even in “Last Train,” which I initially despised). But there are no moments that break the surface of the soundscape’s quite monotone harmonic themes and compositional patterns. No point at which—regardless of how much sound and fury the band apparently exude (“Walking the Parapets,” “The Maddening Symmetries”)—the music elicits anything more than a “yeah, it’s cool I guess.” It’s a no from me. But what do I know about melodeath anyway? Disappointing.

Iceberg: Of Crackling Embers and Sorrows Drowned is clearly a passion project for Scott Kopec and Ethan Gifford, because logistically, producing the debut album for Brazen Tongue sounds like a complete nightmare. The main duo live seven time zones apart, all composition was done via cloud-sharing, and every instrument was tracked in its own session. This hasn’t dulled the band’s compositional abilities however; there is a glut of quality material on this album. A blend of blackened thrash and Gothenburg melodeath—with shadows of Lamb of God groove metal thrown in there—OCE&SD is an in-your-face drag racer of riffs that rarely lets off the gas. The highlight here is the creative combination of guitar riffs and leads with contrasting rhythmic underpinning; see the openings of “Walking the Parapets” and “The Recidivist.” Album standout—proper Gothenburg sadboi “Last Train From Myrdal”—shows the band knows how to blend punishing atmosphere with resplendent orchestrals, even if it runs a bit overlong. And that seems to be Brazen Tongue’s Achilles’ heel; most every song here desperately needs trimming, and the overuse of individual segments is a chronic issue. Ten-minute closer “The Maddening Symmetries” is brimming with varied, epic, blackened material, but wore this listener’s ears out well before its conclusion. One can’t help but wonder if the geographical separation of Brazen Tongue played a part in the fine-tuning issues, but I hope the band keeps at it and watches their margins more closely; the potential here is vast. 2.5/5.0

#2024 #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2024 #BlackSites #BrazenTongue #Headshrinker #IndependentRelease #Insomnium #Jun24 #LambOfGod #MelodicDeathMetal #OldManSChild #Rapture #SelfRelease #TheOffering #ThrashMetal #Zornheym

⭐½
#TheOffering (2022) on #Letterboxd: https://boxd.it/A5Em #PrimeVideo

#TheOffering
The son of a Hasidic funeral director returns home with his pregnant wife, seeking reconciliation with his estranged father. However, they remain unaware of the ancient evil that lurks within the family morgue. https://go.pradt.co/offering

#yonomeaburroestrenos

Los #estrenos para hoy lunes 11 en plataformas #streaming

#TheWalkingDeadDarylDixon #MiracleWorkers #TheOffering

#movistar #amc #paramount #warnertv

Calendario completo:
https://www.yonomeaburro.net/p/calendario-series-2012.html

#yonomeaburroestrenos

Películas, series y documentales que se estrenan en septiembre en #Movistar

#Tar con Cate Blanchett
#LosFabelman de #StevenSpielberg
#Elvis
#TheQuietGirl
#TheOffering
Los tres mosqueteros
#Filip
El poder del dinero con Brian Cox
El piloto, con #GerardButler

Documentales sobre #Abba La Mostra de Venecia #DuranDuran #SamSmith #VetustaMorla #PinkFloyd #PussyRiot #KathrynBigelow

y más

Todos los #estrenos aquí
https://www.yonomeaburro.net/p/calendario-series-2012.html

I watched this one last night, it wasn't bad. If you like religious horror and demons give this one a try.
#TheOffering #hulu #horrormovies #horrorfam

https://youtu.be/bwCgUWgGhdM
Echamos un vistazo para ver que hay apetecible en la #cartelera
#RETOAMSTRAD #BUOH #CINE #PELICULAS #ELPILOTO #OSOVICIOSO #theoffering #ESTRENOS #ERIKELVIKINGO

#Opinion de varias películas #yonomeaburroreview

#LaChicaDeLaNieve en #Netfix
#GenteComoVosotros
#TheOffering #LasDosVidasdeAudreyRose

https://www.yonomeaburro.net/2023/01/opinion-chica-de-nieve-gente-como-vosotros-netflix-offering-dos-vidas-audrey-rose.html

while the design of the sheyda was very creepy and interesting, I do have questions. I distinctly remember that sheydim leave footprints like a chicken walking backward? I can't remember all the other descriptions that #ThrowingSheyd mentioned, but I do remember that one

anyway, I don't want to spoil the movie for anyone, so, if you can tolerate horror, you should watch #TheOffering. it was good! and scary!!!

welp, I finally watched #TheOffering

so, I don't consume a lot of #horror. I may regret starting it around midnight, not bc I'm worried about nightmares (I don't remember my dreams), but bc my heart rate isn't going to slow for the next two hours 😅

honestly though, it was good. I could have done with fewer jump scares (Link might have stayed on my lap), but it was really nice seeing #Jewish symbolism and hearing Hebrew prayers

#JewishHorror

#TheOffering es una película de terror con un buen punto de partida una ambientación impresionante que entretendrá a los amantes del género, aunque le hubiera sentado bien sugerir más y mostrar menos. Ya en cines.

Crítica de Laura Zurita:
https://noescinetodoloquereluce.com/2023/01/critica-review-the-offering-pelicula.html

Posiblemente, la banda sonora más terrorífica de los últimos veinte o treinta años.
#TheOffering

The Offering (2023) ★★★★★★☆☆☆☆ https://trakt.tv/movies/the-offering-2023 #TheOffering #trakt

¡Es viernes y llegan los estrenos de cine de la semana!

#DevotionUnaHistoriaDeHeroes
#ElChicoLeón
#KompromatElExpedienteRuso
#LaBallena (#TheWhale)
#LaVidaSinTí
#LoboFerozLaPelícula
#Mikado
#Pathaan
#RegresoARaqqa
#TÁR
#TheOffering
#YukuYLaFlorDelHimalaya

https://noescinetodoloquereluce.com/2023/01/estrenos-cine-27-enero-2023.htm

L’Emprise du démon (2023)

☆☆☆☆

En un rien de temps, le film se révèle terriblement chiant, convenu & prévisible.

✍️ https://www.senscritique.com/film/lemprise_du_demon/critique/282796478

#LempriseDuDémon #TheOffering #OliverPark #Abyzou #Démon #Juif #Orthodoxe #Hassidique #Horreur #FilmHorreur #Film #Cinema

Ya podemos disfrutar del tráiler oficial y el póster de #TheOffering, película de terror basada en la demonología judía y ambientada en el mundo jasídico que se estrenará el próximo 27 de enero

https://noescinetodoloquereluce.com/2022/12/trailer-y-poster-the-offering.html