There are slow burners and then there’s Our Evil, which trucks along at the pace of a clapped out milk float.
And yes, I’m fully aware of how old that statement makes me but it’s the only analogy I could come up with that gets anywhere close to describing just how slow the pace of the movie is.

There are average cinema-goers who may cringe at the lack of speed, and it is in fairness, both its weakness and its strength.
The longbow that is being pulled is well worth the payoff in my opinion, and could very well be the reason that the film was recognised for its strength in direction at last years A Night of Horror film festival.

Brazilian filmmaker Samuel Galli would take home the “Best Director” award vision, and would the film would also capture the “Best Male Performance” award to Ademir Esteves for his role of Arthur, a man who oozes coolness from the exterior, but deep down holds a secret, that pains him to the core.

Arthur is a man of spiritual nature, who is warned by his mentor that his daughter will become possessed by a demon hellbent on destroying her soul. What would you do when faced with such a proclamation? Why hire a serial killer to protect her of course.

The beauty of this movie is that it somehow manages to ebb and flow through various styles and story-telling techniques that range from the beauty to the most violent and gruesome scenes set to screen.

The fact that it manages to do this with such ease and simplicity without jarring the audience is a testament to Galli’s ability to guide you through each scene that grips you and keeps you intrigued to know what direction he is taking you in.

Added to this is Galli’s decision to use theatre-trained actors and ask them to pair back the performance to the point that it pulls you in further into the dark world that the film is set in. Once hooked, we’re ensnared and taken on a ride that delivers a hefty punch come the conclusion.

The Diagnosis:

Galli’s vision is what steers this unique tale that utilises subtle performances to intensify the emotions and anguish on display.

There’s a fine line between, good and evil, life and death, and Our Evil manages to walk that line with perfect balance of both these extremes.

– Saul Muerte