For as much as we look to horror for visceral thrills and major grisliness, it can often be those titles that choose a quieter, haunting path of creeping dread that can be more meaningful and lasting. Films can go even more discreet, though, slowly assembling a loose conglomeration of ill omens and odd occurrences; just as these can be more difficult to engage with, they can also be more rewarding. With its gradual accumulation of peculiar goings-on and centering of folk beliefs, 'Roh' definitely fits into the latter category. In what is accordingly his directorial debut filmmaker Emir Ezwan has elected a tale of a measured approach requiring a very delicate hand; emphasizing the point, depending on one's perspective we're more than halfway through the length before there's a scene that's distinctly, concretely unsettling. I dare say Emir handily succeeded, however, for in its unhurried purposefulness the picture conjures a fascinating tableau of mounting, worsening abnormalities; though the result is even softer in its impact than other examples of artistic and restrained genre fare, at its own pace the feature unquestionably manifests an outstanding ambience of deep dread. If on average horror is a claw slashing our skin and opening lacerations, 'Roh' is a ghostly hand gently but inexorably curling its fingers around our heart until its presence is unmistakable and inescapable. Even at only a hair over eighty minutes it's a long ride, but it could scarcely be more absorbing. This is superb!
I can't begrudge those viewers who engage honestly with this and find that it's not to their liking; the tone is subdued, the pacing is deliberate, and the crescendo is pointedly, heavily drawn out. I couldn't even say to a certainty that I understand everything Ezwan was doing here; presumably it would help if I were more knowledgeable of regional beliefs and practices, and to some extent Islam, but as it is I'm at a disadvantage. Just as much to the point, I would note as a concrete weakness that for as much as the preceding length relies on subtlety and piecemeal progression, and increasing spikes in dynamics, the last few minutes of revelation are both very overt ("This. It's this.") and weirdly flat, turning away from building insidious vibes to provide an explanation that feels to me feels like a blithe, detached single note of "That's just the way it's always been." It's an ending that feels somewhat ill-fitting with all that had come before. Yet notable as this concrete weakness is, truthfully, it's also the one and only flaw that comes to mind at any time. And broadly speaking this is so exquisitely well written and made that one hardly needs to be on the precise same wavelength as the filmmaker to admire what he put together, and to have a good time here. The horror is underhanded and nuanced, but no less potent in a narrative of a family confronted with a grim portent and ever more urgent circumstances. The scene writing is so slick and smooth that it feels more like a cement that helps the whole to gel.
The practical effects and stunts are excellent, not to mention the art direction. Reinchez Ng's original score helps to lend tension and atmosphere to the proceedings at all turns; the small cast uniformly give strong performances of refined expression and poise. Saifuddin Musa's cinematography is crisp and vivid, and Ezwan's direction is impeccable in orchestrating every shot and scene to slyly slip in and spotlight the snowballing sinister signs and sensations. And it bears repeating that for as small and unassuming as the saga begins, and for as deftly and rather silently as each subsequent element is stacked on top, the cumulative effect is fabulously rich and striking, as solid as one could hope of a genre movie. Honestly, this is even better than I could have hoped, and I'm so pleased with how good it is. It's a film that's best reserved for those who are receptive to the patient and understated side of the genre, with other tales of folk horror being the best comparison, and even at that it won't find equal favor with all; 'Roh' is absolutely a flick that operates on its own schedule. For as smart as it is, however, and for all the terrific and readily apparent skill and hard work that went into it, I'd be hard-pressed not to recommend it to just about anyone. Viewers should be aware of the tenor of the production before they sit for it, yet even with marginal imperfections the end product is so engrossing, enjoyable, and satisfying that it stands very tall on its own merits. 'Roh' is a slice of international horror that deserves much more recognition!
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