Jeruzalem begins with a prologue set in 1972, when priests of Jewish, Christian, and Muslim faiths are summoned to Jerusalem to investigate a woman who died and returned to life after three days. At first calm, she soon becomes violent, attacks her husband, and in the end sprouts leathery wings before being shot. The priests declare that this event is proof that one of the gates to hell lies in Jerusalem.
In the present day, two American friends, Rachel Klein and Sarah Pullman, are on vacation. Sarah is grieving the recent death of her brother Joel, and her father gifts her a pair of smart glasses that allow augmented reality features. On the flight, they meet Kevin Reed, an anthropology student interested in religious mythology. Kevin convinces the two women to come with him to Jerusalem, especially during Yom Kippur, because of his fascination with weird myths, exorcisms, gates of hell and so on.
Once in Jerusalem, the trio encounters locals warning them, including a man who believes he is King David. They stay in a hostel owned by Omar, a local man with whom Rachel becomes romantically involved. Sarah and Kevin grow close. But strange signs start: at the Western Wall Sarah makes a wish for her brother to return, black birds fly overhead, and strange drawings are found in ancient quarries and historic sites. Kevin becomes increasingly uneasy, believing that something supernatural is about to unleash.
As Jerusalem falls under curfew and chaos erupts, the supernatural event escalates. The city is sealed off; military and authorities impose restrictions. Demonic creatures — winged monsters with zombie‑like behavior — begin attacking people, infecting them, biting them, turning them into horrific versions of themselves. Rachel, Omar, and Kevin struggle to survive, trying to escape via underground caves and secret tunnels, while Sarah races to rescue Kevin, who has been imprisoned in a mental asylum.
In the climax, Rachel becomes infected. Sarah and Kevin, realizing the danger, attempt to flee with her. There are chaotic confrontations with the possessed, and betrayal, fear, and sacrifice. Omar commits suicide, Rachel kills herself to stop her transformation. Sarah and Kevin reach what seems like hope as they escape through the city’s walls via the caves. But Sarah realizes that she too bears scratches and evidence of infection, and in the final moments she succumbs, transforming into one of the demons. The final shot reveals thousands of winged creatures swarming Jerusalem under the sky as military forces attempt to contain the disaster.
Jeruzalem uses its setting — the ancient city, religious symbolism, and mythic lore — to build tension. The found‑footage style via Sarah’s smart glasses gives a voyeuristic, immersive feel, making the supernatural horrors feel closer and more immediate. It balances between supernatural myth (religious gates, angels/demons) and apocalyptic horror. The film ends on a grim note: the apocalypse has begun, and escape seems uncertain.
