Easter 2026 Is Here – Celebrating Two Years of Seditiosa
For some, Easter marks the arrival of Spring, while for others—such as our tireless team in La Paz—it signifies the beginning of Fall. However, regardless of geographical differences and beyond seasonal changes, Easter remains a time when many reflect on the most renowned crucifixion in history. In our team’s corner of the world, there are a variety of activities and events that reflect the collective spirit of the season. These include special celebrations, religious masses, holidays, and other occasions that bring people together. Such observances are an integral part of culture, fostering connection and a sense of belonging among peoples.
This Easter, in 2026, also represents two years since the release of Seditiosa. The film narrates the final days of a female Christ figure named Yahel, who, along with her two friends, faces the cruel sentence of scourging and crucifixion including a long and painful Via Crucis. The story of Yahel offers a unique perspective on a familiar narrative, reimagining the universally known events through the lens of its central characters.
And how is that most intriguing film doing?
A Film’s Journey: Seditiosa is and was in the Spotlight from the time it was proposed to us until its release in 2024. There were times of speculation, people wanting for the film to be ready in a matter of hours. Although production and completion were achieved in a notably shorter timeframe than is typical for such projects, for some, the wait felt interminable. This heightened sense of expectation underscores the excitement and interest that surrounded the project from its inception.
The anticipation generated by the film Seditiosa was remarkable and stood out as a unique experience for our team. Not many films are able to evoke such a strong sense of expectation, with audiences eagerly awaiting updates and completion. This level of excitement is rare, and only a select few films have managed to create similar anticipation.
Among those few is Maleficarum, which also captured the collective imagination and generated considerable expectations during its development. Both Seditiosa and Maleficarum exemplify projects that became focal points of attention, distinguishing themselves through the anticipation they inspired.
Since its premiere, Seditiosa has maintained its status as the best-selling film for two consecutive years. In recent times, it has entered a close competition with the recently released Pygmalion for the top position. The sales ranking between these two films has fluctuated, yet as of this week, Seditiosa has once again secured first place after briefly dropping to second.
The inspired days of script writing, the crazy days of preproduction, the challenging days of production, the intense period of post-production, and the widespread anticipation for its release are now way behind us.
Our team has become well-acquainted with the recurring cycle of production challenges, post-production efforts, and the anticipation leading up to each film’s release. This pattern has been observed across all our projects, mirroring past experiences and reinforcing the resilience required to bring each film to fruition.
In 2010-2011, we faced similar obstacles with Maleficarum, a film that went on to break sales records and establish itself as one of our most successful productions. To this day, Maleficarum continues to be a top performer, consistently ranking among the ten best-selling films each year—a testament to its lasting appeal and widespread popularity.
Today, this familiar cycle is unfolding once more with the films currently in post-production, as well as those still in development. Among the most notable upcoming projects is Crucified Four, which stands out as a significant focus for our team.
Crucified Four comprises a series of four films. Unlike Seditiosa, Maleficarum, and even Justine—all of which benefited from substantial early financial support and successful fundraising efforts—Crucified Four does not enjoy the same advantages.
The absence of early financial backing and a fundraising campaign that failed to generate sufficient interest has resulted in considerable difficulties for the development of Crucified Four. In contrast to earlier projects, which enjoyed the benefits of substantial initial investments and successful funding initiatives, Crucified Four now faces an uncertain production timeline. The inability to secure the necessary resources has raised questions about whether the series will be able to proceed in the near future, casting doubt on its viability and progress.
Our company is currently navigating a challenging period, as sales have significantly declined compared to previous years. The growth of our streaming channel has also been slower than anticipated, further complicating our financial outlook. In this environment, the prospect of undertaking new films with Big Production Values remains, for now, an aspirational goal rather than an immediate possibility.
In light of these circumstances, we will continue to focus on producing the No Budget movies that have become our trademark. We plan to share more details about these ongoing efforts in future updates.
We encourage our fans to support us by purchasing our films and subscribing to our streaming channel. Such support can help improve our current situation and may eventually make it possible for us to produce ambitious projects like Crucified Four in the near future.
Buy our films. Our latest release Pygmalion
From PYGMALION, THE DIDACTICS OF LOVE by Carlos Gutiérrez Andrade:
You could almost say the film (Pygmalion) is a sequel to Sirwiñakuy. It is, in turn, the last tango in Paris. A déjà vu where a farewell is eternally repeated. In fact, in one of the last scenes, after she has already won the bet, Eliza, Vera, Mila, or the conceited cockroach, or whatever she is, is standing in front of the Sirwiñakuy poster.
And that is the moral: to what extent are we willing to love someone, accepting them with their virtues and flaws? To accept heaven upon meeting them, purgatory and hell upon discovering their flaws, but willing to burn in those embers? Or to be the eternal Casanova searching for his eternal Galatea, the perfect one, the young one, the perfectible one? But I invite you to see the film, where the seriousness of the characters will elicit uproarious laughter that will have you rolling with laughter. Don’t miss this spark of divine fire that is Amy’s cinema, exquisite and not suitable for the uninitiated.
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A young woman, seeking a place to live, answers a Room For Rent ad. The house she enters appears inviting, complete with charming plants, a friendly cat, warm sunlight, and a peaceful atmosphere—all features that immediately appeal to her. The landlord gestures toward the room, and as she moves to see it, he discreetly lets a syringe slip down his shirt sleeve. The moment she enters, he injects her neck, causing her to lose consciousness.
As the man removes her clothing, she regains a faint awareness. In those brief moments, she realizes she is now at the mercy of a depraved individual, and the room itself reveals the depths of his corruption.
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