Outside of Hollywood, exorcism films involving the church are quite rare in Asia. Dark Nuns is a supernatural horror film from South Korea and serves as a standalone sequel (or spin-off) to The Priests (2015), directed by Kwon Hyeok-jae. The movie stars big names like Song Hye-kyo, Jeon Yeo-been, Lee Jin-wook, and Moon Woo-jin. While the first film may not have been widely known, can Dark Nuns grab attention and offer something fresh?
The story follows a young boy named Hee-joon (Woo-jin), who is possessed by a malevolent demon and is under the care of a hospital within a church’s grounds. A strong-willed nun named Guinia (Hye-kyo), nicknamed the “Dark Nun,” is determined to save the boy with the church’s approval. However, her plan faces opposition from Father Paolo (Jin-wook), who oversees Hee-joon and believes the boy can be treated medically. Meanwhile, Paolo’s assistant, Sister Mikaela (Yeo-been), whose spiritual awareness has been awakened, sides with Guinia. The two women eventually decide to try an alternative method, keeping it hidden from the church.
Although The Priests didn’t have a massive audience, its core storyline aligns closely with Dark Nuns. Both films delve into the protagonists’ struggles with the church’s complex bureaucracy while racing against time to save a victim. Both also share a slow pace and lengthy buildup before reaching their climactic sequences. However, Dark Nuns ups the ante with a larger narrative scope and a much more intense and gripping climax. One notable addition is the incorporation of local elements in the exorcism rituals, a hallmark of many South Korean horror films.
In typical church-based exorcism films, the issue of authority often plays a central role. From an outsider’s perspective, it’s baffling how these films depict such a lack of urgency in addressing problems that are clearly life-threatening. Priests can easily dismiss the situation by saying they lack the authority to perform the exorcism. How does this even make sense? This trope makes the plots of similar films predictable and, at times, tiresome. However, Dark Nuns stands out by presenting traditional exorcism rituals as an alternative, injecting a refreshing twist into the subgenre.
Unlike conventional horror films, Dark Nuns steers clear of jump scares or terrifying apparitions. This approach might not sit well with audiences expecting classic genre staples or a touch of humor. Instead, the film builds tension gradually, with the story growing increasingly intense over time. It’s not until the climactic sequence that the tension reaches its peak, amplified by dazzling visuals and a booming soundtrack. All the hard work, sacrifices, and struggles culminate in a single moment of revelation—the demon’s true identity, which proves to be crucial to the ritual.
Dark Nuns is a significant improvement over its predecessor, excelling in nearly every aspect, even though it still suffers from a slow and drawn-out narrative. As with most South Korean films, the casting is nearly flawless, particularly the performances of its two leads, Song Hye-kyo and Jeon Yeo-been. Toward the end, the story offers a small twist, hinting at a possible continuation of the tale. While Dark Nuns doesn’t break much new ground, its blend of church exorcism rituals and local traditions sets it apart. This fusion is what ultimately distinguishes Asian horror from its Western counterparts.
