The Moogai, starring Shari Sebbens and Meyne Wyatt, is an ambitious psychological horror that melds the supernatural with the tragic legacy of Australia’s Stolen Generation. The story centres on Sarah and Fergus, a young Aboriginal couple whose lives spiral when Sarah becomes haunted by a spirit determined to take her newborn. This directorial debut by Jon Bell, adapted from his short film, strives to provide a chilling horror experience with a powerful First Nations narrative.

Despite the film’s budgetary constraints, The Moogai is undeniably commendable in its commitment to amplifying voices that mainstream media too often overlooks. Bell takes a significant risk in intertwining supernatural horror with the raw, historical trauma of the Stolen Generation. This choice lends the story an authentic weight, one that can make even its quieter moments unsettling for the viewer. The horror of the “Moogai” itself is as much about cultural survival and memory as it is about a literal, child-stealing spirit, making it a film that resonates more deeply than a typical thriller. Here, Bell taps into the boogeyman myth as a metaphor for loss, embodying the threat of erasure that has haunted Indigenous communities for generations.

However, as a horror feature, The Moogai struggles with pacing and tonal consistency. While Sebbens and Wyatt deliver committed performances, the film sometimes feels stretched too thin, with sequences that linger without building tension. These extended moments, though perhaps intended to evoke dread, often risk losing the viewer’s engagement. The film’s slow pacing requires a degree of patience, especially from audiences seeking fast-paced scares or intense suspense. This restraint may deter some horror fans, but for others, it offers a subtle, unsettling atmosphere that builds the film’s thematic power more than its thrill factor.

Where The Moogai shines is in its reflection of trauma and resilience. Sebbens’ portrayal of Sarah’s unraveling captures the disorienting fear of feeling unseen, not just by loved ones but by society at large. Wyatt’s Fergus is equally poignant as a husband and father torn between wanting to believe in Sarah’s haunting visions and fearing for her sanity. Their struggle mirrors the broader fight of First Nations people to have their truths recognised, to see their experiences validated rather than dismissed. The film becomes a haunting metaphor, echoing the cries of stolen generations and emphasising how grief, if unaddressed, can haunt each new generation.

The Prognosis:

The Moogai may not entirely satisfy as a spine-tingling horror, but its significance as a cultural narrative is undeniable. Its imperfections can’t detract from the boldness of its vision and the necessity of its message. Bell has crafted a film that, while limited in scope and budget, brings to light a story that deserves to be shared and reflected upon. The film’s power lies in its willingness to confront the horrors inflicted upon Indigenous communities, merging supernatural dread with the very real hauntings of history.

• Saul Muerte

The Moogai will be screening in cinemas from October 31^st.