The authorities are increasingly interested in shedding light on the abuses against young people by some priests because, as Pope Francis recently declared, "the direction that the Church has taken is irreversible." Something that is extremely necessary to protect the victims and judge the perpetrators, despite the fact that many times those who have suffered abuse are afraid to report it for fear of being stigmatized by the society in which they live; this without also counting on the power that religious iconography has over the psyche of the parishioners.
"For me God our Lord is everything, I even tell Him to take out my heart and clean it." This quote, taken from the documentary "Agnus Dei: Lamb of God" (2010), by the Mexican filmmaker Alejandra Sánchez, condenses the perception that a large part of believers have about religion as the owner of their bodies and where the priest who appears Iconic, being the representation of the Son on earth, it is untouchable and sanctified, possessing the same rights as the latter over the flesh and the spirit. That is why, when a nun learns that a certain priest imprisoned for child abuse was abused by other prisoners, she cries to the cry of "the body of Christ outraged!"
“You are the chosen race”, the priest in charge of guiding them in their vocation also reminds the seminarians, quoting the words of the “first letter of the Apostle Saint Paul to the Corinthians”, and consequently exhorting them to exercise that power over the congregation. , whose deviations are exposed in Sánchez's documentary. In this sense, the confidence that the chosen one generates in the congregation becomes blind and without suspicion, leaving the perception of abuse overshadowed by faith in the acts performed by the representative of Christ. She is not surprised then that the mother of the minor, seeing a photo of this nude in the priest's house, perceives it as something normal, because she "surely would have been swimming in the pool."
This relationship of power and intrinsic subjection in relationships of trust between protagonists belonging to different social, cultural and economic strata, is magnified within the religious establishment, as one of the participants is spiritually above the other; something crucial to guarantee the absolute and irrefutable confidentiality of the victim in the actions of the perpetrator. If that trust is broken, as happened to the abused when, as an adult, he understood the ramifications of the damage suffered due to the actions of the priest in whom he had given himself completely, then the relationship is corrupt because those who trust others see who are being exploited for their perfidy and realize that the established dynamic was sustained only by fear. A fear that paralyzed the young man for years, making him feel guilty, ashamed and incapable of articulating for himself, his parents, relatives and friends the horror of the acts; a fear, also colored by the fear of rejection by the community, if it were to find out what had happened to him.
The coercion that the intolerance of others exerts on the victim fosters the impunity of the perpetrator, who will continue to subject new prospects to his perverse behavior. But if the evil of the victimizer is promoted by the indifference of the group, it is no less true that the moral and spiritual victory of the victim transcends the evil, raising it above the horror to show it in all its misery. This was represented in the documentary in the scene of the confrontation, where the priest in fixed shot is questioned by the voiceover of the boy who, by crossing the personal space of the criminal, violates his status as untouchable and places him on the same level as him, giving him back some of the dread experienced in a stolen childhood, just as he states during the exchange.
This film resource also allows the director to expose the criminal to the viewer's gaze and protect the tormented, generating a double discourse with the missing part of each one: the voice of the priest and the face of the young man. In fact, even when his voice is heard on camera, it gradually becomes unintelligible, not only because it reaches us haltingly, but because he denies the accusations between stammers and innocuous arguments seeking to evade his responsibility in the drama. Only the hand moving nervously on the sofa betrays the state of mind of the accused, who will keep his face inscrutable, mirroring the pictorial representations of divinities, canons and saints who, mentally abstracting from the environment, seem to be physically elsewhere

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