Trese

Grisi follows a Quechua couple watching their highland world dry up while the condor — their cosmic guardian — circles overhead as omen. The film shares Trese's conviction that indigenous spiritual frameworks remain the most accurate diagnostic tool for collapses that secular modernity refuses to name.

Adamik's series sets a medical student into a Kraków where Slavic deities walk the tram lines, her trauma making her legible to creatures invisible to the rational city. Like Alexandra Trese, the protagonist becomes a reluctant translator between contemporary forensics and a pantheon nobody admits still exists.

Upadhyay tracks a Kathmandu family caught between Maoist insurgency, Newar ritual obligation, and the seductive amnesia of remittance modernity. Like Trese, it stages the city as a palimpsest where political violence and disregarded deities share the same rain-soaked alleys.

The band wove Balanta and Mandinka spiritual idioms into post-independence anthems addressed to ancestors as much as to citizens. Like Trese's pacts with engkanto, the songs treat the unseen world as a political constituency whose grievances determine whether the new nation will hold.

Co-produced through an Italian studio's structural backing, Andō's project transposes the procedural-occult template into a Mediterranean security state where teenage agents inherit unwanted bloodline duties. It echoes Trese's argument that institutional violence and ancestral covenant are usually the same contract written in different languages.