{"id":988163,"date":"2026-01-07T11:00:20","date_gmt":"2026-01-07T11:00:20","guid":{"rendered":"https:\/\/www.polygon.com\/?p=458753"},"modified":"2026-01-07T11:00:20","modified_gmt":"2026-01-07T11:00:20","slug":"the-mystery-of-azraels-burned-demons-runs-even-deeper-than-the-movie-says","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-mystery-of-azraels-burned-demons-runs-even-deeper-than-the-movie-says\/","title":{"rendered":"The mystery of Azrael\u2019s burned demons runs even deeper than the movie says"},"content":{"rendered":"
\"Burned
<\/figcaption><\/figure>\n

It was the end of times, it was the worst of times. Azrael<\/em> picks up somewhere after the Rapture \u2014 or, at least, that\u2019s what people think happened. Or, to be even more specific, that\u2019s what these<\/em> people think happened; our vantage point in Azrael<\/em> is limited to a small cult out in the wilderness somewhere, filled with people who believe they should \u201crenounce their sin of speech.\u201d <\/p>\n

And it\u2019s hard to fault them when there\u2019s strange, blood-drinking demons running around the woods they live in. When the first title card drops, announcing that we are definitively post-end of the world as we know it, it all feels at once totally familiar and topsy-turvy \u2014 which is exactly how the monsters were supposed to be designed. <\/p>\n

[Ed. note: <\/strong>This post now will start digging into later events and spoilers for the film, as well as some descriptions of the graphic origins of the creature design. Reader discretion advised.] <\/p>\n

\"A<\/p>\n

According to director E.L. Katz, the script originally likened the \u201cBurned Ones\u201d to bark, with \u201ctorched skin on top of much more raw, meaty gross stuff underneath.\u201d <\/p>\n

The goal for him, going in, was to create something that felt different from other creature designs. \u201cI wanted there to be a little bit of an uncomfortable feeling of, I just don\u2019t want to even look at their face<\/em> that much<\/em>.\u201d <\/p>\n

He brought on special effects artist Dan Martin because of his work on Possessor<\/em><\/a>, a film Katz describes as having the same acutely \u201cnot fun\u201d violence he wanted for Azrael<\/em>: \u201cThere\u2019s something about it that feels kind of assaulting, uncomfortable, and almost embarrassing.\u201d <\/p>\n

Ultimately, that is what the Burned Ones come across as \u2014 at least, at first. When Azrael (Samara Weaving) narrowly escapes being sacrificed to them at the beginning of the film, they seem vicious but lumbering. In the stark light of the day, they shuffle and shamble almost aimlessly until there\u2019s blood in the air. But as the sun sets, their threat level shifts: Suddenly they\u2019re running, jumping, even climbing trees. <\/p>\n

This is, of course, a nice way to progress the tension of the movie. But it was also a dedicated choice to lace the Burned Ones mythology with something that wasn\u2019t just purely zombie lore. <\/p>\n

\u201cThere\u2019s so many zombie movies; we\u2019re so comfortable and familiar with the appearance of zombies,\u201d Katz says.<\/p>\n

\u201cI don\u2019t think we ever felt our hand was forced by trying to avoid zombie comparisons, because to be completely honest, it\u2019s going to happen,\u201d Martin says, noting that swearing them off entirely takes too much off the table for the story. \u201cReally the main focus was just to serve the story, to make sure that the rules that we were giving the audience in the early scenes never felt contradicted, that it didn\u2019t feel like we were hiding stuff from them and then pulling it out of nowhere. Everything had to feel like a natural progression.\u201d <\/p>\n

In light of that, the look of the Burned Ones didn\u2019t come out of zombie canon. Instead, Martin and his production design team drew from a place they often turn to: \u201cdeeply upsetting\u201d medical pictures. More specifically, in this case, they sought out photos of radiation burns. \u201cWe had conversations about what occurs anatomically inside the body when it is subjected to that kind of trauma, the dehydration of muscular tissue causing this particular pose in the body \u2014 the body starts to draw itself in because the muscles in the skin cook faster than the body, so they retract,\u201d Martin says. <\/p>\n

For him, the goal was always to balance the real with the unbelievable. Martin wanted to evoke the same feeling he had felt as a teen in the hospital, when he saw someone who had suffered really bad burns. \u201cMy stomach fell out; my body felt cold. I felt this rush of adrenaline,\u201d he says. \u201cI was in zero danger, and he was being treated. So it was the best version of that terrible situation that one can have. But my entire body was flooded with brain chemicals telling me that there was danger present. And that\u2019s what I\u2019m going for with a creature like this \u2014 because I want their mere presence to tell the audience that this is a bad situation.\u201d<\/p>\n

\"\" \"\" <\/p>\n
\"\"<\/figure>\n
\"\"<\/figure>\n

\"\" \"\"<\/figure>\n

Exactly what<\/em> the bad situation was is anybody\u2019s guess. Azrael<\/em> is sparse on the lore. What we can infer is: Sometime after an apocalyptic event, Azrael has attempted to escape the mute cult community that raised her, only to be brought back in by their vicious tactics and given to the Burned Ones that surround their camp as an offering. Since no one speaks any English in the film, Azrael<\/em> moves like a funambulist over the taut tension of that set up. <\/p>\n

And again, for a heightened reality like Azrael<\/em> to work \u2014 and to feel not too far off from our own \u2014 it has to be clear about the rules, both for the world and the monsters. <\/p>\n

\u201cHaving that through line is absolutely essential, and it\u2019s really important for anyone who\u2019s making an actual decision on set to know what\u2019s going on at all levels really,\u201d says Martin. You can certainly base discomfort or elements off of known entities. As he notes, sometimes the most impactful types of uneasiness come from something we have some<\/em> frame of reference of pain for, like teeth, nails, or burns. \u201cEveryone\u2019s had a small version of those, and know how much that trauma is painful. So if you extrapolate that, make it bigger, they can naturally build that internally. They understand that escalation.\u201d <\/p>\n

Still, Martin and Katz are both a little resistant to overexplaining their logic beyond the bounds of the set. The film leaves a lot up to interpretation, letting biblical title cards and gruesome action do more of the talking. \u201cWe didn\u2019t really set out to make this sort of Lord of the Rings kind of thing, where you have a book about, This is the rules of every creature in the world<\/em>. It is an interpretive experience. And I think that\u2019s what I think is fun about it,\u201d Katz says. <\/p>\n

\u201cIn this movie too \u2014 where you have some people listen to wind coming through a door or a hole in the wall, that\u2019s just nature doing what it does. But some people, under the right circumstances, might go, That\u2019s a greater force telling me that I need to start killing people in my community<\/em>. Evil. And I think that\u2019s the thing. You can interpret a story or an event or anything in a way that serves something a little bit more messed up.\u201d <\/p>\n

Of course, they do have<\/em> an explanation for the Burned Ones, which is what allowed them to create and build. The gist: There was some sort of \u201cextinction event\u201d at some point in the past. The human characters of the film are the survivors of this thing, and the Burned Ones are\u2026 not as lucky. \u201cThe way we discussed them, they were the corpses of the people who had not survived this extinction event which had been co-opted by these demonic entities,\u201d Martin says.<\/p>\n

\"\"<\/p>\n

For Katz, the desire was always that they appear elemental, \u201ca reminder of the end times\u201d that just seemed to fill out the forest around you. Their skin gets a little \u201cshredded\u201d from ambling into branches over time. They walk around, they don\u2019t seem to die; they\u2019re simply there<\/em>, always feeling otherworldly and yet present. In that light, it\u2019s not hard to see how a cult might start to project onto them. <\/p>\n

\u201cThe idea is they feel these things come from this sort of otherworldly hellscape. And when the end of the world happened \u2014 that fire, that was hell,\u201d Katz says. \u201cSo when there\u2019s evil that starts to come up within their family, their group, the cult \u2014 the only way to get rid of it is to sort of feed it to the source in some ways.\u201d <\/p>\n

But achieving the bone-chilling burned look wasn\u2019t so simple \u2014 particularly when working in a forest in Estonia during the winter. Martin and his team had to be aware of how to design for characters who were wearing nothing at all, balanced against the needs of performers who were dressed only in prosthetics. And there were functionality elements as well: When Azrael gets chased up a tree by a group of Burned Ones, they would need a stunt performer who could hang off of a tree, without any sort of harness. Luckily, Felix Leech was both a creature performer and an aerialist who had just worked with Martin on Tarot<\/em> playing the Hanged Man, so he already had a life cast of himself in a suspension vest.<\/p>\n

That\u2019s not all the prosthetics had to take into account: There were the \u201cfancy Italian running shoes with separate toes\u201d the Burned Ones performers all wore. There was the fact that performers might need to go to the bathroom or eat. There was whether or not the Burned Ones should have genitalia (an idea nixed not out of prudishness but rather, per Martin, because \u201cpenises are quite funny, and they can undermine severity\u201d). And of course there was application time \u2014 which, even keeping it down to a minimum, still took about four hours.<\/p>\n

Like in any production design department, some of the background players are wearing cheaper, rubber mask versions that you can\u2019t see. But the Burned Ones who end up in the foreground \u2014 or in Azrael\u2019s face \u2014 needed to thread the needle of being terrifying and strange, while also sometimes feeling just as (in)human as the cult. <\/p>\n

\u201cIt\u2019s like the human vessel is the vehicle that these aggressive spirits are occupying. They\u2019re a raw destructive force, and they\u2019re piloting this jalopy body that is probably not behaving exactly as they\u2019d like,\u201d Martin says. The team gave them human faces with milky eyes, to indicate they don\u2019t see well. But give them just a whiff of blood, and they lock in. <\/p>\n

The variety in how they appeared was based more on aggression level than anything. The production design team built out rib cages on one performer so they could have holes in her character\u2019s skin to see the ducts beneath. Spines were more visible on Burned Ones like Leech\u2019s tree-climbing creature so that they really stuck out in profile. \u201cWe don\u2019t meet Felix, for example, until that tree scene. And he\u2019s got a much angrier face,\u201d Martin says, referring to the \u201cout-of-mouth\u201d dentures that make it look as if he\u2019s chewed away his lips. <\/p>\n

And ultimately, all that design work didn\u2019t just have to stand on its own. It needed to beget the baby that brings about the end of the world \u2014 or, at least, the end of a<\/em> world. <\/p>\n

\"\" \"\"<\/figure>\n

Like a handful of other movies this year \u2014 see also: The First Omen<\/a>, Immaculate<\/a> \u2014 Azrael<\/em> ends with the birth of, well, something. It\u2019s not hard to interpret the baby as the Antichrist; Martin cites Dick Smith’s design of the Nazarene Antichrist from the dream sequences in Jacob\u2019s Ladder <\/em>as the inspiration for the face and his many eyes. The rest is a \u201ccocktail beast\u201d of borrowed parts: human genitals and umbilicus (obscured); cloven hooves; slender loris arms (\u201cone of nature\u2019s creepiest real hands\u201d). <\/p>\n

It was ultimately the longest design process of the shoot, according to Martin. The result is a tangible, albeit fake, baby, an actual cast of the little guy that had a rod-controlled head and arms, a cable-controlled jaw, a little breathing bladder underneath a tiny plastic rib cage, and a digital blink. It\u2019s the moment that the wonder of Azrael<\/em>\u2019s world, the strange supernatural possibilities, feel like they click into place as firmly unholy. But it all started far earlier, with the early thoughts on some feral demons. <\/p>\n

\u201cThe bodies of the burnt people are [of] our world and they\u2019ve been co-opted by this supernatural other, whereas this infant is \u2014 at least to my mind \u2014 the first time that other has been able to infiltrate a living body,\u201d Martin says. \u201cAnd I think it\u2019s really, really important to have that lore running through the process when you are working on the film because it keeps you tethered to it. You don\u2019t have to spoon-feed the audience, you don\u2019t have to tell them stuff \u2014 in fact, I think most of the time films work better if you don\u2019t. But the people making the film have to know.\u201d <\/p>\n

\n

Azrael is now in theaters.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

It was the end of times, it was the worst of times. Azrael picks up somewhere after the Rapture \u2014 or, at least, that\u2019s what people think happened. Or, to be even more specific, that\u2019s what these people think happened; our vantage point in Azrael is limited to a small cult out in the wilderness somewhere, filled with people who believe they should \u201crenounce their sin of speech.\u201d  And it\u2019s hard to fault them when there\u2019s strange, blood-drinking demons running around the woods they live in. When the first title card drops, announcing that we are definitively post-end of the world as we know it, it all feels at once totally familiar and topsy-turvy \u2014 which is exactly how the monsters were supposed to be…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":988164,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-988163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe mystery of Azrael\u2019s burned demons runs even deeper than the movie says | Arcader News<\/title>\n<meta name=\"description\" content=\"It was the end of times, it was the worst of times. Azrael picks up somewhere after the Rapture \u2014 or, at least, that\u2019s what people think happened. 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