Joachim and the Apocalypse
2024 Italian drama film
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Joachim and the Apocalypse (Il monaco che vinse l'Apocalisse) is a 2024 Italian historical and spiritual film directed by Jordan River, and based on the apocalypse described by the mystic Joachim of Fiore.[1]
- Michela Albanese
- Jordan River
- Andrea Tagliapietra
- Valeria De Fraja
- Francesco Turbanti
- Elisabetta Pellini
- Nikolay Moss
- Bill Hutchens
- G-Max
- Giancarlo Martini
- Willy Stella
- Yoon C. Joyce
| Joachim and the Apocalypse | |
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Francesco Turbanti on the set of the film | |
| Directed by | Jordan River |
| Screenplay by |
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| Produced by | Jordan River |
| Starring |
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| Cinematography | Gianni Mammolotti |
| Edited by |
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| Music by | Michele Josia |
Production company | Delta Star Pictures Inc. |
Release date |
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Running time | 85 minutes |
| Country |
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| Languages | Latin, Italian, English |
Cast
- Francesco Turbanti as Joachim of Fiore
- Nikolay Moss[2] as Richard I of England
- Elisabetta Pellini as Constantia d'Altavilla Constance, Queen of Sicily
- Bill Hutchens[3] as The Cabbalist
- G-Max as Galfredus De Clairvaux
- Giancarlo Martini as Ahàron
- Willy Stella as Enraged Man
- Yoon C. Joyce as Guardian of the Threshold
Production
Filming began on 20 June 2022[4] in Italy (Calabria and Lazio) and completed in December 2022.[5] It was the first Italian film shot in 12K resolution.[6] The makeup of the film was overseen by Vittorio Sodano.[7] On 17 January 2024, it was announced that the digital visual effects, supervised by Nicola Sganga, had been completed.[8][9]
The original score for the film was composed by Michele Josia.[10] The soundtrack won the Gold Medal - Original Score at the Global Music Awards in 2024.[11]
Theta Waves and Sound Technology
The film's audio features the first commercial application of the ThetaWave Cinematic Modulation System (TCMS), a neuroacoustic technology developed by Delta Star Pictures in 2023. Co-developed by director Jordan River and researcher Bruno Gioffré, the protocol integrates sub-threshold theta wave frequencies (4–7 Hz) within the film's musical score to induce a frequency following response in the audience without affecting the standard audio mix, dialogue intelligibility, or original dynamics.
The system operates entirely via software and relies on standard low-frequency effects (LFE) channels routed through specific sub-bass crossovers (10 Hz – 80 Hz), making it natively compatible with standard theatrical layouts such as Dolby Atmos, 7.1, and 5.1 surround sound arrays. The technology was subsequently reviewed in an academic seminar at the University of Rome Tor Vergata in May 2025.[12][13]