Filmmakers Samuel M. Delgado and Helena Girón go in search of the last living witch in Ye, a village on the island of Lanzarote. The soundtrack features old recordings of preachers discussing the mythical existence of witches. Meanwhile, we see images of elderly women picking roots and plants on the island. The magic of their stories comes alive when darkness falls. Night is the time when travel is possible. But airplanes did not yet exist: travel happened through their prayers. 

There is an elegant simplicity in what Delgado and Girón do with their material, but their approach also has a broader poetic resonance. They collect non-verbal stories that are on the verge of disappearing and evoke an eerie, otherworldly atmosphere. Neither God Nor Santa María was shot on deteriorated 16mm film, giving the images of flora and fauna the texture and appearance of an excavated, damaged document, full of scratches and imperfections. As a result, the work also reflects on the transience of film art itself: like other traditional folk customs, it is endangered and can only be preserved by passing it on from craftsman to craftsman.