Ministry of Mercy: A review of Triumph Over Evil: Battle of the Exorcists

Reel Rating: 4 out of 5 reels

Deliverance ministry is undergoing a revival in the early 21st century, both within the Church and the wider culture. When I was growing up in the late 1990s, exorcisms were seldom mentioned, and little was known about real exorcists. Today, that has changed dramatically; for example, multiple practitioners have popular podcasts. And in the last two years, more than seven films–of varying quality–featuring exorcism have been released. There is, alas, never a lack of sin, and today there seems to be a greater awareness and interest in spiritual warfare.

Now comes Triumph Over Evil: Battle of the Exorcists, the first documentary approved by the International Association of Exorcists (I.A.E.), which is the most prominent group officially endorsed by the Vatican. And this film is the best overview of the subject produced in documentary form, albeit more as an instructional tool than an entertaining night at the movies.

The film develops in three movements: the origin (Satan), the ritual (Major Exorcism), and the purpose (Deliverance). Each of these lessons is told through interviews with exorcists based on their decades of study and practice.

First, a man must know the reality of the devil. One priest chuckles with sad amusement that, despite all the evil in the world, some still do not believe the devil exists. Those interviewed explain that “God makes nothing evil”. Rather, the devil chose to leave God’s goodness, as attested in Scripture and Tradition. They make it abundantly clear that the Church teaches the existence of the devil, his demons, and their temptation.

When it comes to Satan, two falsehoods must be avoided. The first is to dismiss Satan as an imaginary or literary invention. The second is approaching life in a superstitious manner, seeing Satan behind every mundane action, which paradoxically ascribes too much power to the fallen angel.

The second movement of the film describes the ritual of exorcism. The priests explain that there are many kinds of demonic influence, the vast majority of which are not demonic possession and do not require a Major Exorcism. “The sacrament of Confession is more powerful than an exorcism,” explains one priest.

It is also important to rule out any natural causes, such as mental or physical illness. Jesus himself does this, distinguishing between miraculous cures (the thankful leper) and demonic possession (the Gerasene demoniac). This involves the consultation of medical professionals (who need not be Catholic). The priest also does not act alone but with the permission of his bishop, according to the rites prescribed by the Church.

“Prudence is extremely important,” one priest explains. An exorcist should have the highest level of discretion and never engage with the demons, who lie constantly.

The third and most compelling movement of the film involves the purpose of exorcism. The necessity of this rite comes from sin, especially when people place their trust in occult practices and powers rather than God.

“Most people who do seances or magic are charlatans,” explains one priest, yet sometimes such people invoke evil spirits masquerading as departed loved ones. Usually, demonic activity is invited by a person through their own consent. But several priests acknowledge the existence of curses, which involve spiritual evil done by one person against another in the same way physical violence is used against another. Yet, they stress that a life of prayer and the sacraments protects ordinary people against these attempts.

In his letter to the Romans, the Apostle Paul instructs that “in all things, God works for the good.” How could a demonic possession possibly be “good”? Like the greatest evil ever committed on that fateful Friday, so too even the actions of the devil, against his desires, can bring about God’s purpose. One priest recalls a possessed woman who suffered from her affliction for years despite receiving multiple exorcisms. When she first met the priest, her whole family was not practicing the Faith—yet, as they saw her pain, they returned to Mass and prayer. By the time the demon left her, the whole family had returned to practicing the Faith.

This is a “ministry of mercy,” not concerned with spooky supernatural showmanship but redemption for those enslaved by evil. Ultimately, it is about the love of Jesus Christ, who lays down his life for the flock to bring them home.

Another aspect of deliverance ministry that I had not considered much was the role of Mary. Audiences are used to seeing a priest powerfully proclaiming “the power of Christ,” but not the humble prayers of His mother. Yet, several exorcists mention the importance of invoking her prayers. The demons hate Mary so much that they will not even pronounce the name, simply referring to “her.”

One Franciscan exorcist was having trouble getting a demon to leave after many sessions. Frustrated, he told the demon, “Since you won’t go, we’re going to take a break and say the Rosary.” The moment he unclipped his beads, the demon screamed “NOT THAT” and left. It’s understandable to be defeated by God incarnate, but the humiliation of being defeated by a poor, first-century Jewish woman is apparently much worse.

The production consists entirely of three elements: interviews, stock footage, and dramatizations. There are themes and movements, but no overarching story. This is an older method that has largely faded from mainstream documentaries. Starting with Michael Moore’s Roger & Me in 1989, documentaries have been borrowing more of a narrative structure that includes a much wider array of techniques, and audiences have come to expect this. The film’s execution in this regard is satisfactory but not always compelling. It certainly works well as academic instruction, but not always as a cinematic experience.

This is an Italian production, and every exorcist featured works in Italy. This makes sense as the I.A.E. is based in Rome. Yet it also means the entire feature is dubbed into English, which may be distracting to some viewers.

When I first learned of the project, I was excited to see some celebrity priests, but, as an Italian production, Father Amorth was the only person I recognized. However, there is some bonus American content that will be included with the film when it premieres on October 30th through Fathom Entertainment. This content features Msgr. Stephen Rossetti and Fr. Chris Alar, among others. Fr. Alar’s explanation of the origin of evil is particularly illuminating.

The resurgence of exorcism in popular culture has produced both good and rotten fruit. It has certainly brought many souls to Christ, but at times has allowed the proliferation of superstitious ideas (see The Conjuring franchise for an example). The devil wants our attention, which is why he performs “parlor tricks.”

Thankfully and fittingly, this film invites the faithful to focus on the Triumph, which is Jesus Christ and his mercy and deliverance. It is fitting that it premieres on Halloween, as it will help viewers see through the secular excess, synthetic costumes, and candy, bringing into focus the triduum of Allhallowtide and the victory of the Church Triumphant.

In that powerful way, it is a perfect “holiday film”!

• Triumph Over Evil: Battle of the Exorcists is in theaters this Thursday, October 30th.