Laura Mora Ortega’s film shows Medellin, the cocaine capital of Columbia, as a place that hasn’t changed all that much since Pablo Escobar. Brutal violence still reigns in the streets, and eliminating enemies is still an everyday reality. This becomes 22-year-old Lita’s painful realization when her father, a university professor and political activist, is killed right before her eyes by two bikers. Adding to Lita’s anger is the local police’s lack of interest—they don’t seem especially motivated to catch the perpetrators. The case goes on in a state of limbo for a couple of months, until Lita notices one of the killers dancing at a party. She instinctively decides to make contact with him, taking advantage of the fact that he doesn’t recognize her. It’s a dangerous game that can have no positive outcome. Ortega’s powerful, realistic thriller is to some extent based on her own experience and serves as an outlet for the many years she spent waiting for revenge and justice. In Killing Jesus, Mora Ortega portrays the victims of a corrupt, violent society—not only Lita but also the titular Jesús.