Director Antonio Negret effectively explores the culture clash of spiritual beliefs and less effectively observes the impact of colonialism in his new feature “Shaman,” a supernatural horror film written by his brother Daniel Negret. Their collaboration is both beautiful and terrifying, with the brothers using horror’s widespread possession subgenre as a way to examine its broader and more specific themes.
The story takes place in a remote region of Ecuador where a family of well-meaning Catholic missionaries have come to minister to the natives under the leadership of a local priest, Father Meyer (Alejandro Fajardo). Candice (Sara Canning), her husband Joel (Daniel Gillies) and their teenage son Elliot (Jett Klyne) have started a school, offering medicine to the sick and providing hot meals to those in need.
But things take a sinister turn after Elliot ventures into a nearby cave despite warnings from some local children. He inadvertently breaks a seal which releases a malevolent spirit who is later identified as Supay, the god of death. Unknowingly possessed by the evil Supay, Elliot returns home. But soon after, Candice begins to notice that her son is acting unusual. Unsurprisingly, his actions become progressively more disturbing, ranging from disappearing in the middle of the night to vomiting blood (among other things).
Adding to the strangeness is a creepy old shaman (Humberto Morales) who immediately takes an interest in Elliot. The pious Candice does not want to participate in the shaman or his disturbing rituals. But its repeated presence causes concern. Is he someone who can help and can he be trusted? Or is it him and his dark magic that are the cause of Elliot’s condition? This mystery plays a large part in the second half of the film. As Elliot’s condition worsens, a troubled Candice feels increasingly helpless and the shaman’s presence becomes stranger.
“Shaman” is not for the squeamish. In addition to strange totems, animal sacrifices, and creepy occult rituals, there’s no shortage of graphic and squirm-worthy images to make you uncomfortable. Bleeding eyes, burning skin, cracked bones, scorpions. The film incorporates a variety of genre conventions taken from all manner of past possession films. This inevitably takes away some of the tension for fans who have seen it all before. But the setting remains interesting even when the scares don’t really hit the mark.
Thematically, the film addresses religion and colonialism through the clash between the family’s firm Catholic beliefs and the local culture. Meanwhile, we get a slow reveal that hints at past family issues. But within the confines of the story, neither is explored in enough detail to be of much importance. Yet “Shaman” manages to get under your skin just enough to be effective. And familiar possession tropes aside, the film does things with its unique setting to give the story its own distinct identity.
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