The Djinn
IFCThere are usually two types of problems found in low-budget horror films: high ambitions that simply cannot be fulfilled due to the limited nature of the project, often leading to underwhelming set-pieces that lack any bite, or an over-reliance on trite scares that have been seen time and time again, with little to no variation to their execution. Filmmaking duo David Charbonier and Justin Powell are well aware of those things, and thankfully they avoid them for their second feature film, The Djinn.
This version of the genie originates from Islamic culture, and his presence has graced the silver screen many a time. More recently, a horror film that was likely an inspiration for The Djinn was 2016’s Under the Shadow – a Farsi thriller that utilises the supernatural creature’s presence as a metaphor for war-torn Iran. While definitely rooting itself in the “horror as metaphor” subgenre, it is refreshing that The Djinn is really committed to being a horror film first and foremost.
Not unlike the aforementioned Persian-language film or even the now-classic The Babadook by Jennifer Kent, The Djinn has a young kid at the centre of its narrative. Following the untimely death of his mother, mute Dylan Jacobs (Ezra Dewey) discovers a book of incantations hidden away in his house, so one night he decides to read from it and makes a wish. This unleashes the spirit of the titular being, and he has to survive until midnight to have his wish granted to him.
Elements of the Monkey’s Paw story are at the core of this narrative, as is the exploration of grief and trauma. What sets the movie apart from similar straight-to-video releases is the execution: as soon as the Djinn is released, the rest of the film plays almost entirely like a dialogue-free cat and mouse game, as Dylan hides away in various corners of the house while the shape-shifting figure is on the hunt for him. It is a claustrophobic and bone-chilling scenario, expertly brought to life with clever use of lights and framing to always convey a feeling of unease in every scene. There are moments in here that feel like a less violent version of Bustillo and Maury’s Inside, especially for a sequence set inside the house’s bathroom.
The blend of supernatural horror and home invasion is surprisingly effective, but the true star of the film is young Dewey. With virtually no lines and being present in almost every shot, he effortlessly carries the film on his shoulders, showcasing great emotional depth with his character and delivering real emotions during the more dramatic moments of the narrative. His reactions to the Djinn catching up to him, or the flashbacks to his mother’s demise, are terrific. Major props to the make-up and art department as well, for the design of the ghost is scarier than expected.
While it is a rather effective and pleasantly straightforward horror film, The Djinn falters only in a couple of places. Primarily, it is hard to shake the clear inspirations for the film; as much as Charbonier and Powell try to add their own twist to the proceedings – often resulting in memorable jump-scares – the feeling of derivativeness is still present. There is also the use of voice-over narration whenever Dylan reads from the book that was very off-putting and unneeded, a choice that ends up being distracting rather than immersive.
Still, even with these small problems, The Djinn ends up being a rewarding and engaging watch. Fans of the genre are likely to have a blast with the stripped-down narrative and no-holds-barred scares, delivering a varied sequence of spooks that will make even hardened fans jump in their seats. The duo of directors clearly understands what does and does not work about low-budget filmmaking, and they are bound to deliver something truly incredible if given the chance.