Rating: C-
Dir: Elias Matar
Star: Asma Jumaa, Hamza Zahab, Hassan Alkhlefe, Ahmad Alrefai
Part of me wants to hold off on this review until next October, when we’ll be following up our 2021 feature, 31 Countries of Horror, by doing 31 More Countries of Horror. This would fit in very nicely, being the first horror film – indeed, I think it’s the first movie of any kind I’ve reviewed – from the Lebanon. It’s always satisfying to cross another country off the map. Just a shame Matar didn’t choose to make something with more local flavour to it. When that comes through, this is interesting. Sadly, it’s not often enough, and without it, you just have another example of that over-populated genre (not least, because it’s cheap to make), the found-footage ghost-hunting expedition which goes terribly wrong.
Here, we have three friends who are making a documentary: YouTuber Lara (Jumaa) and her pals, Alaa (Alkhlefe) and Shadi (Zahab). They investigate a local decrepit mansion, built by a French businessman in the thirties for his family. They all disappeared one night, and the police investigation went nowhere. Since then, the property has passed through many hands, nobody staying long, amid reports of mysterious noises, unexplained events and spooky sightings. Now, Lara and friends will spend the night there, and absolutely no prizes for guessing where this is going. Mysterious noises, unexplained events and spooky sightings? Check. Sceptic who doesn’t initially believe? Check. Someone who is particularly susceptible to the spirits and goes a bit loony (top)? Check. Sobbing rambling into the camera? Check.
Did The Blair Witch Project not receive a Middle East release or something? That’s the main impression here, matters not helped by unconvincing dialogue delivery; it rarely feels anyone is not reading lines. The exception is Abdallah (Alrefai), a junkie living in the house, whose drug use might (or might not) provide a conduit to the spirits; his performance seems natural enough. But it’s still mostly things you’ve seen before, and the execution can’t overcome this. At least the camerawork is stabler than some, and shouldn’t generate motion sickness. Matar does have some skill, when it comes to assembling the narrative, and there’s enough to leave me interested in seeing more from him.
Yet nor does it play by its own rules. For instance, there’s a scene where two characters are talking, and neither are pointing a camera. How do we get two different angles of the conversation? The best elements are when the makers gets out of the rut, and bring in elements from their culture. Even simple things like Lara walking through the refugee camp where her friends live, establish this as different. It also does a better job than Blair of tidying up its loose ends, with a creepy scene that might (or might not) take place in the afterlife, and an overall explanation that makes sense. It’s not enough to negate the overwhelming sense of deja vu.
The film is currently available on VOD, and will be coming to Tubi on November 26th.