The post-apocalyptic thriller Azrael has left audiences scratching their heads, especially with its enigmatic ending.

Directed by E.L. Katz and written by Simon Barrett, the film follows Samara Weaving’s character, Azrael, as she battles a cult of mute worshippers in a harsh dystopian landscape.

The movie’s climax has raised numerous questions, particularly about the strange creature born at the end. Was it Lucifer himself or something even more sinister?

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What Was That Baby?

In the final act, Azrael confronts the cult’s pregnant leader, who tragically dies while giving birth to a grotesque creature.

This “baby” isn’t human, but its exact nature is left ambiguous. Director Katz suggested that the newborn might be the Devil, remarking, “I think we know who he is… he’s been in a few books.”

He added that depicting such an evil entity in a surprisingly “adorable” way was a deliberate creative choice, reflecting humanity’s perennial fascination with darkness.

The Antichrist or Lucifer Reincarnated?

Writer Simon Barrett hinted that the creature could be an “antithetical resurrection figure,” potentially a dark mirror to Christ.

While he didn’t confirm if the baby was indeed Lucifer or the Antichrist, he noted that either interpretation would be acceptable.

The filmmakers playfully referred to the creature as the “goat baby,” highlighting its unsettling yet somewhat endearing appearance.

Why the Silence and Esperanto?

One unique element of Azrael is its almost complete absence of spoken dialogue. Most characters have severed their vocal cords as part of the cult’s ritualistic practices.

However, one character does speak, using a variant of Esperanto—a language created to promote global unity.

Barrett explained that this was a deliberate choice to show that not all communities in this world adhere to the cult’s extreme beliefs.

This makes Azrael one of the very few films to feature Esperanto, albeit in a modified form.

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Samara Weaving’s Performance Challenges

Although her character is silent throughout the film, Samara Weaving still had to scream during filming to convey tension and emotion.

The screams were later removed in post-production, preserving the authenticity of her performance.

This unconventional approach highlights the filmmakers’ dedication to creating a realistic portrayal of a world where even the act of speaking is a luxury.

The Ending

The ending of Azrael is open to interpretation, inviting viewers to ponder the true nature of the mysterious baby.

Azrael is currently playing in theaters worldwide. Catch it if you’re up for a chilling and mysterious ride.