“So Moses stretched out his hand toward the sky, and total darkness covered all Egypt for three days.” In Khavn De La Cruz’s horror pastiche, the Apocalypse has hit three beautiful young women in the form of a power blackout in a haunted house in Manila. . Michiko, who is half Japanese and can’t live without her cell phone, evokes that Japanese movie One last call. The horror she experiences is worse than a cell phone that kills: her phone doesn’t get any reception in the haunted house. Blonde half-American Kimberly has discovered that she is pregnant, and though her corrupt confessor has told her to get an abortion, she prefers lighting candles and praying to ill-lit religious images. Her situation recalls Polanski’s seventies cult classic Rosemary’s Baby. And then there is Isabel, who tries to break free of a boyfriend who is just not that into her (except physically). All three are haunted not by CGI ghosts or monstrous killers, but by glimpses of their deepest desires and fears briefly lit by candles or cell-phone glimmers. Cult digital director Khavn gives us a genre and gender-bending mix of Satanism, horror and eroticism (the titles proudly display the condemnation of the Philippine film criticism board and a rating of X or M-18). As commentator Ramon Beyron says: “If a film be rated for adults, let it be with a genuine adult premise and stance and substance.”