The literature of author H. P. Lovecraft has inspired wave after wave of horror directors. From all out body horror such as Joe Lynch’s Suitable Flesh, to more subtle affairs like the works of Aaron Moorhead and Justin Benson, the Cthulhu loving writer’s work has been adapted, interpreted, and used as a sounding board for years. Lovecraft’s popularity shows no signs of waning, with Matt Devino and David Michael Yohe’s The Dæmon the latest film to utilise the late author’s work as a starting point.
The Dæmon is a film that keeps its pace slow and melancholic. Set in the wake of the death of Tom’s (Tyler Q Rosen) father, The Dæmon sees his concerned wife, Kathy (Sara Fletcher), hunt him down after he goes missing. She is joined on her quest by her brother, Mark (Oscar Wilson), and his partner, Jess (Adriana Isabel). The threesome find Tom at his father’s remote cabin. Upon arrival they notice Tom acting oddly; but how much of his behaviour is dictated by grief, and how much by something even more sinister?
The strength in The Dæmon comes from the slow build up. Both Devino and Yohe take time in revealing the monstrous elements lurking beneath the surface. This move allows the viewer to stew in a sea of paranoia and intrigue as they try to puzzle out which characters can be trusted, and which cannot. Unlike most stories that have a clear protagonist, The Dæmon switches allegiance at several points, allowing different characters to take centre stage. This technique keeps the audience on the back foot and whilst some will be frustrated with the lack of proper connection, the concept works as fostering the vital air of unease. The lack of connection fits in perfectly with the themes of the narrative too as each of the core four is desperately trying to find a place in the world for them to belong.
Although it takes a while to get there, the creature designs are wonderful to behold. The Dæmon might have been made on a modest budget, but Devino and Yohe have spared no expense on the effects side of the story. From the entity lurking far out at sea, to the more close-up experiences that the characters are put through, the effects are startling and are a new interpretation of some long-standing Lovecraftian ideas that fans will really enjoy. The use of a strange suffocating membrane is a standout, as are the colours transposed over the night sky. Their strange beauty bewitches both viewer and character, expertly hiding their true malevolent intentions.
Whereas other films gratify the audience with an immediate return on their investment, The Dæmon requires more patience. It is slow and steady, but ultimately builds up to some devastating, and rather gory, closing moments. A film that relies on mood and tone to sustain, The Dæmon struggles at times to maintain its rhythm, but once the last act begins it finds its feet. These little falters are to be expected given this is the first feature-length film from either Devino or Yohe, and do not detract from the clear visual eye the pair have for conjuring striking imagery.
The Dæmon
Summary
Invasion of the Body Snatchers told through the veil of Lovecraft, The Dæmon, like the ocean it is set beside, is a moody, beautiful slow moving film with hidden depths.
The Dæmon was reviewed at Pigeon Shrine FrightFest 2024.
