The horror film 'The Wailing', the debut work of Pedro Martín Calero, which has already become a hit in San Sebastián and won the 'Silver Shell for Best Director' (the Spanish equivalent of the French 'Cannes'), is being released in Russian theaters.

Andrea (Ester Expósito) is an ordinary student, lives with her parents, does an internship at an architectural institute in Madrid, and maintains a long-distance relationship with a young man named Pau (Álex Monner), who lives in Sydney.

One day she begins to notice a strange ominous silhouette that no one else sees. To make it out, she has to use a video camera. After a tragic accident, she realizes that the only way to overcome her fear is to face it head-on.

Debut director Pedro Martín Calero confidently enters the world of professional cinema, starting with the most popular genre — horror. In the last decade, this direction has increasingly offered new ideas for understanding the nature of human fear.

Many famous contemporary directors began their careers with horror films: Fede Álvarez ('Evil Dead', 'Don't Breathe'), Ari Aster ('Hereditary'), David F. Sandberg ('Lights Out'), Robert Eggers ('The Witch'), Jordan Peele ('Get Out'). And each of them achieved significant success in this genre. Pedro Martín Calero, despite understandable modesty, may seem no less talented than his colleagues. And sometimes he can even surprise with his innovative approaches to creating visual storytelling.

'The Wailing' is a fascinating mix of motifs already familiar from other successful films. It tells about a girl's experiences, her fear, inability to share her feelings, and fear of being rejected due to lack of trust.

Particularly interesting is the comparison with the film 'It Follows' by director David Robert Mitchell. In that film, the main character is pursued by an entity that no one else sees (or wants to notice). In Mitchell's film, the entity is a metaphor for a sexually transmitted disease, while Calero continues to develop a similar idea, venturing into the territory of violence.

Enriching this theme, the film raises an important social issue and is not afraid to criticize family institutions. The family should be the first to offer a helping hand and support. However, in some cases, it itself becomes a source of danger, exposing its loved ones to even greater risk. This can lead to the 'genetic code' of violence being passed from one victim to another, from generation to generation, without any logic. The author does not give viewers clear answers to explain the motivation and origin of the pursuing entity. However, it is obvious that evil without apparent causes and beyond control is much scarier.

It is impossible not to note that this film stands out from others due to its original approach to visual design. It is surprising how the correspondence of young people in a messenger was harmoniously integrated into the film's plot. This decision vividly and interestingly conveys the spirit of our time, saturated with digital technologies, which, despite the abundance of recording devices, cannot guarantee one hundred percent salvation from the threat.

The director is not shy about leaving metacomments directly related to the understanding of the world of cinema and its perception by others. In the second third of the film, the action moves to the film art department, where a teacher criticizes a student's work for many unnecessary scenes, terrible editing, and weak direction.

This scene can easily be interpreted as irony towards film critics who might not appreciate the film, criticizing it with similar remarks. However, the director himself does not always avoid such mistakes, leaving scenes in the film that, despite their seeming insignificance, can disrupt the narrative dynamics.

Despite the fact that closer to the finale the dynamics weaken a bit, after watching it still leaves a pleasant impression. From the very first minutes, the film immerses you in a meditative state of suspense. The stylish storytelling is so captivating that it does not let you get distracted by anything else.

The film lacks the usual jump scares typical of the genre, which viewers have already grown tired of. This sets it apart from the mass of other horror films. Moreover, the film still has at least two unexpected moments when you can get scared and grip the armrests. The filmmakers deceive viewers' expectations, not allowing them to predict what will happen next. Thanks to this, the tension in these scenes only intensifies, and the emotions experienced can remain in memory for a long time.

Despite its genre specificity, some unsuccessful elements, and apparent unevenness in the finale, the debut of Pedro Martín Calero can confidently be called successful.

The film does not just tell a banal scary story that gives you goosebumps and makes your heart race. It also speaks about fears that need to be screamed out loud.

Trailer: