[1] It tells the story of Judas Iscariot (Rafael Rivelles) with the famous kiss of him betraying Jesus to the Romans in exchange for a few coins.

Eighty-two sets, exteriors shot in the Holy Land (Rafael Gil moved there with a film crew in the summer of 1953 and the images would later be used in long shots or on transparencies of the film), a brilliant cast and – above all – An interesting plot idea characterized El beso de Judas: narrating the story of Jesus from the point of view of Judas.

Escrivá presented the project to United Artists, which received it enthusiastically, guaranteeing optimal distribution in numerous American countries.

With this guarantee, no expense was spared when it came to structuring spectacular scenes inspired by the American model of the great Cecil B. DeMille (although the black and white of The Kiss of Judas has aesthetic, and even dramatic, concomitance with the version of the life of Christ that Julien Duvivier had filmed in 1935 with his Golgotha).

Enrique Alarcón in artistic direction and Alfredo Fraile in photography, both regular collaborators with Gil, achieved one of their best works in a production that also featured Cristóbal Halffter in the solemn and adjusted music that accompanied the images, and in the montage with José Antonio Rojo, another frequent collaborator of the director whose work is living history of Spanish cinema.