The Benefactress (an Exposure of Cinematic Freedom)

Özet

After the cult success of Dariuss, director Guerrilla Metropolitana is hired by a dying woman with a fake name and a powerful televangelist husband. Her one demand is to appear in the film via video link. What follows is a descent into cinematic depravity, as a seemingly virtuous charity worker becomes the face of a film driven not by art, but by obsession, control, and the twisted desires of an unseen patron. The film blurs the line between performance and possession-where fiction becomes a weapon.