A smokescreen dressed in a burst of sparks, under the luminescence of a fire whose flames remain invisible to the viewer's gaze, is all we have as a transition or curtain between each of the six segments that make up this curious and interesting anthology discussing the "Devil" (his form, nature, methods, and presentations). This backdrop might be considered the most minimalist "wraparound" that the film's producers introduced to weave these diverse tales together, all focusing on one of the beings that has most concerned, terrified, intrigued, and even fascinated humanity.
Is he an entity with an ontic existence in and of himself? A construct and/or projection of what we reject within ourselves? An intrinsic part of humans, reflecting the Light that created us?
Throughout literature, countless films, and a myriad of artistic expressions, a frequently anthropomorphized archetype of him has been created.
In "DEMON" (2017), a film produced under the auspices of UCLA's Film School, we're presented with yet another rendition of our friendly "Old Nick", often depicted with (or without) a tail and the unmistakable goat-like horns and hooves. When he "chooses" to appear on a cinema, TV, or computer screen, he's one of the most unsettling figures. Despite his age-old presence in the collective imagination, inducing sheer terror in franchises like "The Exorcist" (1973), "The Omen" (1976), or unforgettable titles like "Rosemary's Baby" (1968), this recent and relatively unknown project, primarily a showcase for budding directors fresh from UCLA, daringly and skillfully offers a fresh compilation of perspectives in various narrative formats.
The anthology kicks off with a contemplative demon, portrayed by a young and handsome Sean Guse, who delivers an intriguing monologue about his purpose on Earth. Titled "Demon Dilemma", it's essentially a plea for free will, juxtaposed against the inescapable fate seemingly assigned to our protagonist.
This existential gloom continues in "Devil Town", where a businessman, initially oblivious to his surroundings, finds himself ensnared in a horrifying reality, revealed to him by a vagrant-a recurring symbol of human frailty in many films.
The fourth and fifth segments, "Incubus" and "Van", shift from a philosophical portrayal of evil to a more explicit representation of diabolical figures. In "Incubus", the malevolent figure haunting our protagonist, played by Victor Gralak, is genuinely unsettling. "Van", on the other hand, presents a more comical demon, but the story is crafted with care and delivered convincingly by its lead actress.
Sandwiched between these tales is "Little Soldier", a heartwarming story of a young boy who confronts his worst nightmares with the help of his toy soldiers. This lighthearted segment, reminiscent of 80s action flicks, offers a breather from the anthology's darker themes.
The anthology concludes with a futuristic dystopia featuring the dashing actors Michael King and Yoshua Sudarso as FBI agents investigating a sinister plot in a distant time and place.
With the diverse settings in the film, it seems the intent is to overwhelm the viewer with the omnipresence of evil and its ability to thwart any resistance. Only the innocence of a child, with his toy soldiers, stands firm against the looming threat.
Technically, the film is well-executed, particularly the cinematography, which seamlessly complements the scripts. The soundtrack and effects are modest but fitting. The actors, while relatively unknown, deliver convincing performances, especially given the introspective and thought-provoking dialogues one might not expect from a student film. Perhaps it's this lack of pretension, combined with the film's authenticity and humility, that makes it more commendable than some of the more hyped productions from major distributors and renowned festivals.
0 out of 0 found this helpful.
Was this review helpful? Sign in to vote.
Permalink
