The Vigil is a rare horror that is a fusion of ancient Jewish traditions and a limited setting. The Vigil is a unique horror film by Keith Thomas under the famous producer Jason Blum’s Blumhouse Productions. This film stars names that are still foreign, namely Dave Davis, Menashe Lustig, Lynn Cohen, and Milky Goldman. Apart from an Asian adaptation horror film, The Vigil is a horror film close to our traditions, which would undoubtedly be very frightening for audiences in this country.

Vigil is a tradition of guarding the corpse against night to morning. This tradition is intended to not see the corpse by evil forces who want to take its spirit by reading specific prayers. Once upon a time, Yakov (Davis) was asked to become the Shumer (body keeper) of a Jewish citizen who died in his neighborhood. Due to the tight economic situation, Yakov did not decline the offer. The body was an older man whose wife, Mrs. Litvak, still lived with him in a small flat. Yakov also carried out his duties in a relaxed manner, not until he realized that something was wrong in the house.

The Vigil is possibly a western horror film with the scariest premise I have ever watched. Just imagine that sitting close to a corpse from midnight to morning is not a very pleasant situation without any horror tricks. The atmosphere built by mise_en_scene is already horrifying and is guaranteed to make us sit uncomfortably. Anything can happen. I look forward to a big surprise from this one-story and simple story setting. Unfortunately, the development of the story is unable to bite as hard as the premise. It’s not bad at all; it’s just that we’ve seen this before. Yakov’s past trauma also makes it easier for viewers to see the film’s story’s direction. This kind of psychological horror playing with mind tricks is very tricky and has almost no story rules. Anything can happen, and this is what I don’t like.

The Vigil was unable to make full use of the premise, the potential depth of the theme, and the terrifying mise_en_scene through the use of familiar horror mind-tricks. I feel like something is missing here. Someone fluent with this tradition might see it from a different perspective. This is the biggest problem. This story cannot provide sufficient information about this tradition, such as what is permissible and what is not, and what the consequences will be if it is violated. If the boundaries are blurred, it will also obscure the viewer’s perspective. We cannot understand the tradition’s depth other than just the surprises and horror tricks that we have often encountered in the genre.

 Stay safe and healthy!

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PENILAIAN KAMI
Overall
70 %
Artikel SebelumnyaBody Brokers
Artikel BerikutnyaTom & Jerry
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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