Evangelio mayor deals with aging in the context of LGTBIQ+ people. Aging and its accompanying phenomena are often overshadowed by visual representations, which prefer young and healthy models. This exclusion is exacerbated when it comes to lesbians, gays, transsexuals and other sexual dissidents, whose images tend to adhere to a reduced set of stereotypes. But old age or illness (and the film also recalls AIDS) allow us all to experience the fragility of the living body and then think about the social and cultural limits that condition us; In addition, age and illness put into play the ability to face these limits, a central aspect of human creativity.

To the representation of the difference of the bodies and their behaviors is added the rereading and rewriting of cultural texts and of the artistic languages themselves. Greater Gospel is committed to overcoming generic audiovisual conventions, in which Codesal is a benchmark, gathering suggestions from alternative cinema and video made by artists from the first decades of the 20th century. For this reason, Evangelio Mayor does not respond to the heterofilmic formula “fiction versus documentary”, since it takes elements from both parts.

In the same way that a queer body supposes, by its mere presence, an indiscipline in relation to the rules and a challenge to order, the film assumes that same character by interrupting some disciplinary canons. We are before a queer film in its discursive materiality, by manners, performances and sayings; and, perhaps, before a queer essay, given its mixed and tentative nature, along with the references it makes.

The revision and reincarnation of biblical texts in this work does not have a religious value but a cultural value, as remains of a mythical past that survives in different ways and continues to exercise violence in current body politics. Greater Gospel rehearses a rereading of the Gospels from LGTBIQ+ points of view, using a differential language. In fact, the film has supposed an artistic process of relationship with the participants from their double condition of people and characters, whose presence (past, aspirations and proposals) has largely determined the content and formalization of the work.

This work is linked to other previous works by the artist, especially with the feature films Evangelio en Granada (Meta) and Testimonio de Frederman, both of 2019, oriented these from the political violence in Colombia.

Evangelio Mayor has been shot largely in the Josete Massa residence for LGTBIQ+ elderly during the renovation of the building prior to its commissioning, between 2019 and 2020. This public residence, the first of its kind in the world, is managed by the Fundación 26D.