One of my favorite horror tropes is “Don’t Open That Door!” which effectively stirs up fear with just the presence of an ominous door, with no idea what lurks behind it. I particularly dread it when that door leads to a dimly lit cellar or a basement; that’s a hard pass for me. Yet, I can’t help but enjoy watching unsuspecting characters on screen, drawn to discover what lies behind that creepy old door with its squeaky hinges.
An old red door surrounded by religious iconography and a horseshoe where the peephole would be are the catalysts for the new Shudder original, Fréwaka. The title of the sophomore film from Irish writer-director Aislinn Clarke translates to “roots,” which has several different meanings about the movie, the most relevant ones being family and generational trauma.
Interestingly, it is the first-ever Irish-language horror movie!
The movie opens in 1973, featuring a young woman named Peig (played by Grace Collender), who is abducted by masked figures during her wedding ceremony. Fast forward to the present day where we find another woman, surrounded by Catholic and religious decor, who tragically takes her own life. Weeks later, emergency service workers discover her lifeless body.
Her daughter, Siubhán — affectionately called “Shoo” (Clare Monnelly) — along with her pregnant fiancée, Mila (Aleksandra Bystrzhitskaya), arrive to sort through the apartment and prepare it for sale. Shoo, a live-in care worker, receives a call to tend to Peig (Bríd Ní Neachtain), who is now an older version of the woman we first met. Peig has suffered a stroke and is battling dementia and paranoia, expressing her fear of being visited by “them.”
As the narrative unfolds, the lines between reality and the eerie become increasingly blurred. Shoo begins to experience apparitions of her deceased mother and encounters service workers who, reminiscent of the film Smile, are not what they appear to be.
The theme of generational trauma is a haunting motif that has reemerged in horror cinema throughout the years, often employing supernatural elements to amplify the psychological and emotional burdens borne by its characters. One of the best examples as of late is Ari Aster’s groundbreaking film, Hereditary. In this chilling narrative, a relentless domino effect of trauma, abuse and grief reverberates through a family’s lineage, leading to catastrophic consequences.
Aislinn Clarke has created a film that artfully explores how the dark legacy of past generations can haunt the present and how that leaves characters grappling with their inherited burdens in a deeply unsettling manner.
“Unsettling” is genuinely the ideal word to characterize this film. From its striking imagery to the captivating cinematography and haunting score, my nerves were completely on edge as it climaxed.
Folk horror deeply resonates and lingers in my head long after the movie. I find anything related to religion or cults incredibly fascinating, as they touch on fundamental aspects of our world. The rituals, symbols and stories can all be observed in real-life settings. I feel there is always something to learn from other cultures when applied to horror, and in this case, the demonic entities are based on the Irish folklore of the Na Sídhe, malevolent and demonic presences.
While Fréwaka is technically classified as an Irish folk horror film, it also captures key elements of classic horror: a spooky old house in the countryside, a delusional older woman, and, of course, no cellphone service around.
The horror in this film arises from its masterful blend of cinematography and score. Although there are a few jump scares sprinkled throughout, the real impact of horror lies in the techniques used here. It’s a slow burn, so be patient; don’t write off Fréwaka too quickly. This film is tailored for those who appreciate a gradual build-up of tension. Many visuals are unsettling and eerie, featuring everything from haunting masks to goats reminiscent of Black Phillip from The Witch.
Additionally, the presence of religious iconography adds an extra layer of dread. For instance, a picture of Jesus with a glowing red cross appears during intense, nail-biting suspenseful moments. As someone who grew up Catholic, this should provide peace, but it did not in this movie.
The performances in the film are outstanding across the board, particularly from the two lead characters, Shoo (Monnelly) and Peig (Collender). Peig is quite a challenging character to warm up to but witnessing her evolution alongside Shoo brings a touch of levity to an otherwise serious narrative. Initially, it’s tough to feel sympathy for Peig, given her abrasive nature, but that’s precisely what makes her character arc compelling.
Shoo is depicted as a patient woman who carries the weight of her troubled upbringing and strict Catholic background. This marks Monnelly’s debut in a leading role, and she commands attention on screen.
As the final 30 minutes of the film play out, a rich tapestry of themes and character journeys intricately intertwine. Each revelation deepens the story’s complexity, leading to an impressive payoff highlighting the film’s careful buildup. The tension, which steadily intensifies throughout, culminates in a breathtaking climax. I needed to look up some details to grasp what happened fully, but it’s incredibly well-executed for a low-budget film shot in just 20 days.
I’d give Fréwaka a solid three and a half out of five stars. If you enjoy films like Midsommar and Oddity, it’s worth your time. Just be prepared to exercise patience as the tension gradually builds for the best experience. The score kept me on the edge of my seat, and at times, I was so unnerved that I had to remind myself to breathe. I even felt wary of being alone in the dark while watching it!
This film might not be everyone’s cup of tea, but it was certainly right up my alley. Pro Tip: Leave the spooky, old cellar doors to the experts.
At 94% on Rotten Tomatoes, Fréwaka is now streaming on Shudder.