Irish Horror Film Skillfully Blends Folk Traditions with Genre Tropes

J.R.R. Tolkien famously said that “cellar door” is the most beautiful pairing of words in the English language. The horror film “Fréwaka” challenges that notion, presenting a cellar door that serves as a gateway to unsettling occurrences. The movie, directed by Irish filmmaker Aislinn Clarke, taps into local folklore and historical guilt to create an atmospheric, if not entirely groundbreaking, horror experience. Clarke’s previous film, “The Devil’s Doorway,” set a similar tone by using familiar genre elements in distinctly Irish settings.

This new film, like its predecessor, is a straightforward chiller with deeper, darker layers. It brings to mind indie hits like “Relic” and “Midsommar” and was showcased at Locarno, giving it some arthouse credibility. The consistent quality of Clarke’s first two films may pave the way for bigger projects, but “Fréwaka” stands out because of its rich Irish context, blending folklore with historical injustices such as the Magdalene laundries, turning deep-seated cultural imagery into disturbing nightmares.

The title, “Fréwaka,” is derived from the original Irish word “Fréamhacha,” meaning “roots.” This theme is central to the story of Siobhan, known as Shoo (played by Clare Monnelly), a pragmatic protagonist who is indifferent to her past. The film opens with a cryptic prologue set in 1973, showing a rural wedding interrupted by men in frightening straw masks, followed by newspaper reports of the bride’s disappearance. The narrative then shifts to the present, starting with the suicide of an elderly woman in a Dublin apartment filled with Catholic iconography.

Shoo, the daughter of the deceased, arrives to clear out the apartment, her stoic demeanor shocking her pregnant Ukrainian fiancée, Mila (Aleksandra Bystrzhitskaya). Shoo’s new career as a care worker keeps her busy and emotionally distant, a trait that suits her well when she takes a job as a live-in caregiver for Peig (Bríd Ní Neachtain), an elderly woman living in a remote village. Leaving Mila behind, Shoo heads to Peig’s rundown country house, ignoring the locals’ ominous warnings about the place.

Peig’s house is as unwelcoming as it is eerie. Filled with bad taxidermy and ominous talismans, the house is plagued by strange noises and ghostly apparitions emanating from a closed-off cellar door. Peig herself, afflicted with dementia, warns Shoo about the dangers behind the door. The two women, despite their different backgrounds, form a tentative bond marked by moments of clarity and emotional connection. This evolving relationship adds depth and emotional weight to the otherwise chilling film.

“Fréwaka” evokes traditional occult horror elements, such as sinister goats appearing at unsettling moments. While some may dismiss these as clichés, Clarke’s script intertwines these supernatural elements with themes of trauma and anxiety stemming from their experiences with Catholic Church violence. This blending of psychological and supernatural fears ensures that both feel equally pressing and real.

At its core, “Fréwaka” is a masterful exercise in atmospheric horror, capturing the menacing aura of closed rural communities without resorting to stereotypical Irish tropes. The production design by Nicola Moroney infuses the setting with a sense of dread, and Narayan Van Maele’s cinematography captures the claustrophobic feel, even in outdoor scenes. The avant-garde score by Die Hexen, with its jittery percussion, keeps viewers on edge throughout the film.

Both Van Maele and Die Hexen contributed to the success of another notable Irish horror film, “You Are Not My Mother,” directed by Kate Dolan. Like “Fréwaka,” it explores themes rooted in the experiences of Irish women, hinting at a subgenre focused on social and historical excavations.

In sum, “Fréwaka” offers a compelling mix of folklore, horror, and emotional depth. While not revolutionary, it confirms Aislinn Clarke’s prowess in creating gripping and atmospheric horror films with a strong cultural backdrop.

Source: Variety, Particle News