Aislinn Clarke’s debut feature The Devil’s Doorway, was one of FrightFest 2018’s First Blood offerings. Told in the found-footage style, it told the horrors both real and supernatural inside a Magdalene Laundry. Now after several years in development, comes Clarke’s second film, Frewaka, which also has a healthy dose of Magdalene Laundry nightmares.
Beginning in 1973, Frewaka’s cold open joins a bride during the celebrations of her nuptials. After some uninvited guests arrive, she goes outside for some air, before vanishing. Next the film jumps forward to the present day where a grieving young woman called Shoo (Clare Monnelly) is assigned a new home carer gig in rural Ireland. There she meets the cantankerous Pieg (Bríd Ní Neachtain), an elderly woman in need of aftercare following a stroke. Pieg is also extremely superstitious and is certain that ‘they’ are after her. After initially brushing off her stories as exactly that, Shoo soon discovers that there might be some substance to Pieg’s claim.
Earlier this year, FrightFest held the UK premiere of An Taibhse, the first Irish language horror film, and Frewaka could be argued as being the second. It is not strictly in Irish however, with a handful of scenes in English, but it nonetheless counts as a continuation of what is hopefully a widespread movement of Irish language horror. Irish filmmakers have been doing great work in the genre for years, but there is something even more potent about them when told in their native tongue.
In addition to the authenticity granted to the isolated rural setting of Frewaka through the use of language, Clarke also proves a master at using sound. Early scenes set in a city flat are overwhelmingly noisy, perfectly conjuring up the feeling of people everywhere without ever having to use an exterior shot. In contrast, once Shoo has arrived at her location, the silence is suffocating. This makes every creak and movement of the house all the more unnerving, cleverly building an uncomfortable atmosphere before anything has occurred.
Throughout Frewaka, Pieg constantly tells Shoo about a mysterious ‘they’ that needs to be kept out, but Clarke doesn’t want to spell out entirely who or what they are. Instead, Clarke weaves in elements of several Irish folk stories from cult rituals, harvest festivals, and the fae. Even by Frewaka’s climax, Clarke mostly leaves it up to the viewer to interpret what the malevolent presence is. Some will be dissatisfied with the lack of clarity, but others will appreciate its mystique. The scares are similarly kept to a minimum, Clarke relying on the audience’s imagination to bridge gaps. With the frights kept light, it is left to the performances of Monnelly and Neachtain to shoulder the film, and the pair work great together. Each of them gives a strong turn, and their on-screen relationship is engrossing to watch unfold.
Whilst there are plenty of strong components to be found within Frewaka, they don’t all come together as well as one would hope. After a great first act, the pacing starts to drag; scenes and scenarios start to repeat themselves. The script also makes some obvious choices that cheapen the overall effect. Frewaka is yet another example of a film that could, and should, end several scenes before it does. During the last act there is a moment that would be a perfect image to end on, and yet Frewaka continues far past it, even adding on a mid-credits scene to move even further. The overall result of viewing Frewaka is a mixed one, and although not quite as strong as The Devil’s Doorway, it still continues to prove that Clarke is a genre voice worth investing in.
Frewaka
Summary
Although far from perfect, Frewaka has several elements that continue to sustain excitement in the future work of Aislinn Clarke.
Frewaka was reviewed at London Film Festival 2024.
