The Final Days of Filming: Ligia’s Crucifixion Sequence

With the conclusion of the second session of the week, Jac was confident that the Upside Down Ladder Sequence had reached its end. The extensive footage and the intensity of the scenes recorded, were what was needed for the sequence. Looking ahead, Dani, Ligia and Jac anticipated that their next meeting—scheduled for the last week of January—would focus on developing the fourth and final sequence of the film.

During that week, the production schedule reached a peak of intensity with two particularly demanding workdays dedicated to completing the film’s final sequence. On those days, the focus was on capturing the final stages of the dramatic crucifixion of Ligia—a pivotal and dramatically charged moment in the storyline.

For this sequence, and to conclude Ligia’s crucifixion, the creative team made a significant change to the staging, opting for a more conventional portrayal. With her back resting against the ladder, her arms stretched out to either side, and her wrists firmly nailed to the crossbar.

After enduring the distress of being crucified upside down for an extended period, Ligia was relieved to be positioned upright for the culminating moments of her ordeal. This change in orientation heightened the emotional impact of her suffering and provided a powerful conclusion to her character’s journey. Unlike traditional depictions, her feet remained free at first, offering a brief respite from the earlier discomforts.

With the camera repositioned to capture the intensity of the new sequence, Dani ensured that every detail would be recorded. Ligia prepared herself, fully aware of the ordeal she was about to endure. Jac, taking his place beside her, began administering the whipping. The lashes grew more severe, and Ligia’s suffering became increasingly evident as her body eventually went limp and her head fell back in exhaustion. In pursuit of the most compelling footage, the scene was filmed multiple times, with Dani carefully reviewing each take until she was satisfied with the results and ready to proceed to the next segment.

For the next segment of Ligia’s ordeal, the focus shifted to the nailing of her feet onto the rung beneath her. The production team opted to first capture this moment with close-up shots, emphasizing the details of her feet, the nails, and the flow of blood as the nails broke through her flesh and bones and into the wood. This approach sought to illustrate dramatically the intensity of the suffering and the authenticity of the scene. Once these shots were completed, filming for the day was concluded. The final sequence of the film was scheduled to continue on the following day, allowing the team to regroup and prepare for the concluding scenes.

On the following day, the enthusiastic three assembled for what was planned to be the concluding day for the film. The day began with the filming of wide shots that captured the dramatic act of Ligia’s feet being nailed to the rung. After this harrowing scene was recorded, Ligia was left to endure the aftermath of the intense suffering depicted, emphasizing the emotional and physical toll the sequence was meant to convey.

With the initial ordeal of nailing concluded, the production moved into the final and most harrowing part of Ligia’s suffering. This sequence focused on capturing multiple shots of Ligia enduring a relentless and brutal lashing. The camera work emphasized the cruelty of the act, drawing out each moment to highlight the prolonged nature of her agony. Each strike served both to intensify the depiction of her pain and to bring her closer to the end of her ordeal, underscoring the emotional and physical toll of the scene. The team was meticulous in portraying the severity of this final punishment, ensuring that Ligia’s suffering was both palpable and central to the film’s dramatic conclusion.

As the final scenes of the film were completed, the atmosphere on set was one of accomplishment and quiet reflection. The first production of the year had officially wrapped, marking a significant milestone for the entire team.

Dani, responsible for the camera work, expressed satisfaction with how she was able to capture the emotional intensity of the sequences. Her technical and creative decisions throughout the shoot contributed to the overall vision of the film.

Jac, while cautiously optimistic, believed that the footage achieved during the shoot met the expectations set out at the beginning of production. He conveyed a sense of confidence in the material, while remaining attentive to the final outcome during post-production.

After being removed from the demanding torture setting, Ligia shared her thoughts and feelings about the filming process. She described a unique sensation she experienced while she was upright during the scene—an almost out-of-body perspective, as if she could observe herself from outside her own body. Ligia compared this moment to a memorable shot from the film Red Room, where the character played by Amy, Jane, stretched and bloodied on her own ladder, appeared to be looking down at herself as she endured her own suffering. This parallel further highlighted the emotional and psychological depth of the scene, as well as Ligia’s deep engagement with her character.

During the first week of February, the team reconvened to review the progress of their completed work and to discuss plans for upcoming productions. Among the projects considered for the future is Crucified Four, which remains a key element in their ongoing creative agenda.

At the meeting, Dani introduced a fresh concept to the group. She volunteered to take the lead on this idea by drafting the story herself and then exploring the possibility of adapting her narrative into a new film project. This initiative reflected the Dani’s commitment to further collaboration as the team looked ahead to future endeavors.