‘Azrael’ Review: Wordless Horror Indie Proves Incapable of Explaining Its Own Premise
20.03.2024 - 21:45
/ variety.com
Siddhant Adlakha While the experimental premise of “Azrael” is commendable on paper — a wordless, gore-filled revenge indie about a woman escaping a religious cult, as well as zombies of some sort — the film finds itself unable to visually convey many basic tenets of its story. In struggling to reconcile image and meaning, it ends up yielding an uncanny experience that invites too many dueling interpretations, and not nearly enough emotional certainty.
After onscreen text establishes a post-apocalyptic setting, in which Christian extremists have given up “the sin of speech,” E.L. Katz’s horror film begins in medias res — to a fault.
A young woman (Samara Weaving) with a crucifix branding on her throat makes her way through a forest, constantly looking over her shoulder, before silently admonishing her romantic partner (Nathan Stewart-Jarrett) for lighting a fire. Both actors are committed to the bit, gesticulating wildly and passionately, but the specifics of their performances clash with the movie’s premise.
Though it’s eventually implied that they’ve been mute all their lives, the characters behave as if they’ve only just stopped speaking moments ago, right as the cameras rolled. They don’t seem to have figured out any shorthand methods of communication or understanding, which hints at flimsy worldbuilding and leads to a malformed romantic dynamic between them.
Rather than people who understand each other, they behave like strangers thrown together by dangerous circumstances, though there’s little clarity about what those circumstances are. When the pair are subsequently captured by armed, militarized members of their cult, Weaving’s character is bound, and her shin is sliced with a razor until she bleeds, seemingly
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