In his short story Three Versions of Judas, Borges quotes Thomas de Quincey: "Not one thing, all the things that tradition attributes to Judas Iscariot are false". Like the Argentinian, Rabah Ameur-Zaïmeche reinvents the story handed down by the Gospels to show a different Judas Iscariot. The apostle is, in the film, the closest and most faithful to Jesus Christ: the director himself embodies him as someone smiling, full of peace because of the teachings of the Nazarene. The director places Judas and the rest of the characters in a bare landscape, with a primacy for the sensorial (the birds and the wind are almost the only music in the film) that is transferred from the landscape material to the objects: the few colours of the desert contrast with the rich texture of the fabrics. Light also plays an important role in the creation of a world far removed from historicist recreation: the action takes place in the ruins of what was once inhabited. And, following this logic, this naturalism that opposes historical and biblical fact permeates the characters themselves. Ameur-Zaïmeche delves into the lives of those people who in the Bible are subordinate to the figure of Christ: from Bethsabé's beautiful conversation with her mother to the psychological portrait, mediated by her reflections, of Pontius Pilate. Ultimately, the Franco-Algerian does not disdain the importance of the sign as a creator of community and a communicative metaphor. Something that is at the very heart of cinema. PABLO FERNÁNDEZ