Konstantin Ershov and Georgi Kropachyov’s Viy is a haunting adaptation of Nikolai Gogol’s supernatural tale, capturing the eerie beauty of Russian folklore with a visual style that lingers long after the film ends. As the first Soviet-era horror film, Viy is both groundbreaking and deeply atmospheric, offering a rare glimpse into a world where religion, superstition, and the supernatural collide.

The story follows Khoma, a young seminary student tasked with praying over the body of a deceased young woman in a remote village. As the nights wear on, Khoma is forced to confront a series of terrifying, otherworldly encounters, culminating in a spectacular showdown with the demonic titular entity.

The film’s special effects, while dated, are undeniably inventive, creating an unsettling and surreal atmosphere that heightens the horror. The climactic scene in the church, where creatures of the night come alive, is a masterclass in tension and creativity, blending practical effects with an otherworldly aesthetic.

Leonid Kuravlyov’s performance as Khoma is compelling, capturing both the character’s arrogance and his growing terror. The narrative’s moral undertones and folkloric roots add depth to the film, making it a fascinating cultural artifact as well as an effective piece of horror cinema.

Viy is not without its flaws—some pacing issues and uneven performances detract slightly—but its vivid imagery and folkloric charm make it an unforgettable experience. For fans of folk horror and international cinema, it’s a must-see.

• Saul Muerte