In 1965 Mexico City, Flavia, a wealthy yet lonely schoolgirl, befriends Veronica, a young orphan girl who has a fascination with witchcraft. Veronica convinces Flavia that she is a real witch and forces her to be her assistant. The children's games gradually become more serious and Veronica demands more from Flavia.
Ana Patricia Rojo Elsa Maria Gutierrez Leonor Llausás Carmela Stein Maria Santander Ernesto Schwartz Lilia Aragón Hilda Perez Carbajal Marcela Paez Araceli de Leon Patricia Acevedo Laura Almela Arturo Beristáin Rosa Furman Rita Macedo Luis Mario Quiroz Anna Silvetti Hortensia Santoveña Sergio Bustamante
Instituto Mexicano de Cinematografía Sindicato de Trabajadores de la Producción Cinematográfica (STPC)
Veneno para las Hadas, Veneno Para Las Hadas, 給仙女的毒藥, 给仙女的毒药, Du poison pour les fées, Veneno Para As Fadas, Trucizna dla wróżek, Яд для фей
MexicoB-15
Mexico
Grandma, how can I make a pact with the devil?
Veronica is a bit of a loner. The little girl lives with her grandmother, and her nanny always tells her these stories about witches and mummies. Her imagination often runs wild, which leads her to believe she's an actual witch herself. One day, new girl Flavia arrives at school and befriends Veronica. Flavia is a much more grounded child but also a little bit naive. When Flavia doesn't want to attent her piano lessons, the girls decide to cast a spell on the teacher, with catastrophic consequences. From this moment on they will devote all their time to witchcraft.
This Mexican thriller is my first by director/ screenwriter Carlos Enrique…
Me encantaron las escenas de horror tan creativas y bien construidas, amé el detalle de los rostros.
La trama me gustó muchísimo, en ocasiones parecía una bonita coming-of-age de amistad pero termina de la mejor manera, curiosa la semejanza con Midsommar.
Tqm Carlos Enrique Taboada, qué bonito evolucionó en el género
Incluso las dos niñas actúan perfecto, Verónica ya es de mis personajes favoritos de horror, hasta ganas me dieron de robarle la personalidad 🧙♀️
“nana. how do you make a pact with the devil?” - veronica, poison for the fairies, 1986
poison for the fairies is a delightful descent into the beautifully bizarre, where the line between childhood whimsy and spine-chilling horror blurs like watercolor on a damp page. imagine a world where the innocence of youth dances hand-in-hand with the macabre—a place where the ordinary is suffused with the extraordinary, and the mundane becomes a stage for the supernatural. the film offers a tantalizing peek into this realm, led by the enchanting yet unsettling duo of flavia and veronica.
flavia, the aristocratic darling, enters her new school like a breath of fresh air — her wide-eyed wonder makes her the perfect canvas for…
Ah yes this tender moment in girlhood when you become an asshole to your friends and start worshipping the devil
Every adult in this film is hidden or obscured like they are in some sort of Charlie Brown cartoon.
Spoilers at the very end.
Poison for the Fairies feels like horror crafted specifically to strike terror into the hearts of parents.
Verónica (Ana Patricia Rojo) is a frightening, sometimes loathsome child, but the film does a meticulous job of explaining how she became the girl that she is. Orphaned at a young age, raised with something between freedom and benign neglect, she's left on her own to explore, and to fantasize like many children do. Her solitary nature and the resulting hobbies — hobbies like collecting animals, and making up dark tales — leave her further isolated among her peers once she enters school, so she turns to her nanny for company and for answers, building herself a universe…
"Poison for the Fairies" is a 1986 horror film directed by Carlos Enrique Taboada. The film, following the exploits of two young girls and their adventures, uniquely balances on the properties of a supernatural gothic narrative and fantasy driven tale that almost seems storybook in delivery. There is a constant of things being whimsical and the adventure always being larger than life, giving the audience an approach to the film from the element of childlike curiosity. Even the application of fear and horror has a fantasy laden build, with the idea of a central antagonist mostly existing in imaginative form, based upon what a child might think up as a product of their nightmares. Notability, this most symbolic of this…
