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| Images courtesy of Shudder |
Most parents would do anything to get a missing child back, but in some cases, there’s sadly not much they can do. If there’s limited evidence about a kidnapping or abduction, odds seem grim that the child will ever come back. But what if there actually was a way to guarantee the child’s safe return? Thomas Marchese explores this idea in the Shudder Original From Black, and in this case, the path to a child’s salvation is painted with blood and black magic.
Cora (Anna Camp) is a recovering drug addict who is riddled with guilt over the disappearance of her young son Noah (Eduardo Campirano). She feels that had she been sober, Noah would still be safe at home with her. One day, Abel (John Ales), the leader of the group therapy sessions she attends, comes to her with an unusual offer. He says that he knows a ritual that will not only show her the truth behind Noah’s disappearance, but it will also bring him back. He warns, however, that it’s not for the faint of heart. Nevertheless, Cora accepts the offer. With Abel’s help, Cora begins to conduct the demonic, multi-faceted ritual, and it yields a number of consequences after awakening a dark entity. Is this ritual actually the road to redemption? If so, will Cora live to see her son’s resurrection or be killed in the process?
From Black is an intense examination of grief, guilt, and the sacrifices parents go through for their children. It takes each of these themes and dissects them in poignant – and oftentimes horrific – ways, making people’s worst nightmares actualized and some of the most unpleasant emotions completely palpable. The acting goes a long way to flesh out these themes: the entire cast is proficient with Anna Camp giving an especially gut-wrenching performance as the lead, running the entire gamut of emotions a distraught, former drug addict mother might have. The desperation she portrays is equal parts disturbing and tragic, walking a thin line between sanity and madness the further she goes down the rabbit hole of the ritual.
The film is also a haunting feast for the senses. Luigi Janssen’s jarring, string-heavy score brings a commanding, unsettling presence to From Black, and he’s able to handle its tender moments equally well with gentler piano compositions. The cinematography also establishes a distinct mood to the film that is especially effective during the more supernatural moments. Each shot composition is thoughtfully planned as well with some effective framing throughout. Most impressive, however, is the restrained handling of the dark entity Cora unleashes. Enough is seen of him to get an idea of his menacing presence, but he is used sparingly enough to leave much to the imagination. The filmmaker understands that when the horror film delves into abstract, psychological realms, less is more.
Several shortcomings unfortunately take From Black down a notch. For instance, the way Cora narrates the entire story to an officer from jail made certain aspects of the story less impactful. Moreover, while the film does a decent job at making a film with minimal characters, settings, and plot points relatively engaging, Cora’s ritual becomes a bit tedious at times once the audience gets the gist of it. Several other dialogue exchanges feel too drawn out as well. Had the film been edited to a solid 90 minutes, the pacing likely would have benefited from it.Raw, heartfelt, and haunting, From Black has enough components in it that work to keep audiences under its malevolent spell. For anyone with a patient eye who appreciates slow build-ups in horror, this film won’t disappoint.