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For millennia, two groups of immortals have roamed the earth in a spiritual chess game for human souls. Now they enter the time of Final Vengeance.

On one side are the Collectors--unholy, undead entities who feed on misery and blood. In opposition are the Nistarim--saints raised from their tombs during the Nazarene's resurrection, who work to protect mankind.

Natira, a powerful Collector infused with Judas's blood, is on the verge of finding the last of the Nistarim. To destroy them all in one master stroke, he must find the Nazarene's Crown of Thorns which is believed...

Judas hung himself in a place known as the Akeldama or Field of Blood.

But what if his death didn't end his betrayal?

What if his tainted blood seeped deep into the earth, into burial caves, causing a counterfeit resurrection of the dead?

Gina Lazarescu, a Romanian girl with a scarred past, has no idea she is being sought by the undead.

The Collectors, those released from the Akeldama, feed on souls and human blood. But there are also the Nistarim, those who rose from their graves in the shadow of the Nazarene's crucifixion--and they still walk among us, immortal,...

In the last twenty years or so, numerous mainstream movies have drawn from the ideas and images of ancient thought to address the collapse of appearance and reality. These films have consistently featured the Gnostic currents that emerged from Plato: not only Gnosticism itself but also Cabbala and alchemy. Despite important differences, these traditions have provided filmmakers with ready-made ruminations on the relationship between surface and depth as well as with engaging plot lines and striking scenes. In films like The Matrix (1999) and The Truman Show...

In the last twenty years or so, numerous mainstream movies have drawn from the ideas and images of ancient thought to address the collapse of appearance and reality. These films have consistently featured the Gnostic currents that emerged from Plato: not only Gnosticism itself but also Cabbala and alchemy. Despite important differences, these traditions have provided filmmakers with ready-made ruminations on the relationship between surface and depth as well as with engaging plot lines and striking scenes. In films like The Matrix (1999) and The Truman Show...