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A docu-series that questions how a young woman garnered the spotlight of a man's satanic drug ring
Overseeing drug rings, cult machinations, and human sacrifice under the guise of practicing the religion known as Santeria defined the crimes of Adolfo de Jesús Constanzo in Mexico during the late 1980s. And instead of following one straight recollection, the documentary tells two sides of the case: one from Sara Aldrete and the police and media as everything unfolds. What starts as a disjointed journey to proving Sara’s involvement and guilt becomes blurred as the documentary asks the audience to contemplate a different outcome. Does Sara’s young age afford her more sympathy? Was the case rushed and mishandled? Did the police (and other powerful people) force the outcome of the case? Watching only the first episode would be a disservice to the broader context and overlooked participants the producers shine a light on.
"Like its flight-challenged parrot protagonist, Rio takes a while to get off the ground but manages to soar by the end."
— Leslie Felperin
A docu-series that tells the story of Sara Aldrete, the high priestess of a narcosatanic cult that committed human sacrifices in Mexico in the 1980s.
A big part of the series focuses on how the police played a part in villainizing Sara, even going so far as to misplace her documents. It’s remarkable how this phenomenon went unspoken, at least until the journalists pointed it out. Despite Adolfo's heinous crimes, the authorities placed a disturbing effort into blaming the only woman in the group. Coupled with the unorthodox and—by today's standards—unacceptable tactics by the police, the horrors of La NarcoSatanico extend to the justice system that was supposed to prioritize the truth.
A woman's involvement is conflated thanks to the heinous crimes of a man? Sounds familiar.
Kerine Wint is a curator at A Good Movie to Watch. When she’s not absorbed in anime and weird docu-series, she reviews speculative fiction for Fiyah Lit Magazine or designs album covers and magazines. As for her film taste, One Cut of the Dead (2017), The Lure (2015), Inu-Oh (2021), and Dear Ex (2018) sum it up pretty well.
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