Verónica drew from real mysteries, a fantasy born of Spain’s Vallecas report, the sole police document to chronicle paranormal events in the country. Its spin-off and prequel, Sister Death, mark Paco Plaza’s return to myth-making rather than a direct echo of that true story. With Sitges festival opening today and Netflix releasing it on October 27, the film arrives just in time to energize Halloween audiences.
When and why was the decision made to bring the Verónica character to the big screen?
It felt natural. The character Brother Death stood out as the favorite from the previous film, yet only a fraction of the story had been shown. During a conversation with the co-writer, ideas for new directions emerged and the project took shape.
What was the take on Aria Bedmar, who portrays a young Narcissa in this origin story?
The casting process focused on Andalusian actresses to preserve the character’s accent, with Consuelo Trujillo representing Narcisa from Cádiz and Aria Bedmar hailing from Almería. Garbling the Cádiz accent proved challenging, but upon meeting Aria, it was clear she embodied the nunly aura and possessed exceptional acting talent. Her performance felt irreplaceable from that moment on.
Some note that Bedmar said the character is unaware of being in a horror film. Is that a deliberate choice?
What matters in horror is the absence of the cast pretending the horror is a joke. If a glass shatters, gravity should do the work. The fear and the situation drive the moment, not a wink to the audience.
Is Narcisa or the influence of Powell and Pressburger’s Black Narcissus part of the inspiration for this portrayal?
No, the tribute leans more toward Narciso Ibáñez Serrador. That thread runs through Verónica from the start.
When discussing Chicho, the line about Who Can Kill a Child? nods to a sunlit terror rather than a Victorian mood. The imagery leans on Mediterranean light and chalky walls, not shadows. The director loves that a horror film can unfold under full sun, and the moment when he first watched the referenced film sealed that realization. The absence of a Victorian Gothic tone defines the look: sun and stark walls create the atmosphere.
On a tonal level, the film blends flashy impulses with subtle humor and social scenes, seen as a compliment to the director’s career.
Humor often bubbles from an acute sense of observation. It helps stories feel grounded, especially when they draw from Spain. The country has a culture that often finds humor amid the strange, a quality that colors the storytelling and keeps it relatable. When humor feels forced, the result lacks authenticity; when natural, it anchors the horror in real life.
We have no Victorian Gothic; We have the sun and chalky walls
Is there a scene that audiences will remember at Sitges, perhaps a memorable line from the script? The moment about special foods being eaten in pairs stands out, and the hope is that it becomes a festival refrain. The director has long attended Sitges, a place he regards as the most fitting home for horror fans. Ten days there celebrate cinema with a warm, welcoming energy that makes the experience special. For a devotee, this festival is where horror becomes central to the cultural conversation. Attendees go to enjoy, not to judge; Sitges remains a sanctuary for true fans.
Netflix has spoken about Verónica World, and questions arise about a potential second series or a broader expansion. In truth there is no plan to continue this universe, though the first film did not start with a prequel in mind. The idea evolved, and so did the franchise as a whole. Verónica remains a source of joy and comfort, with time likely to reveal what comes next.
Talks about a reboot in May last year for 2027, marking two decades since the first episode, did not materialize. The status is simple: no formal plans exist. Sitges will be the place to discuss possibilities, but stretching the material merely to extend it would not be wise. The goal is originality and a strong idea when the moment calls for it.