Azrael 4K 2024

The balance of form and content is one of the author's key tasks when it comes to a concept, as in this case. We have already seen many paintings in which characters are forbidden to hear, see, make sounds, or touch certain objects on pain of death. That is, the idea of somehow limiting sensory perception is not new. The question is whether there is a coherent story behind this restriction. Confidently and subjectively I can say that “Azrael” respects this delicate balance.

A quick perusal of the promo materials for some reason set me up to watch some variation of “Predator” about a girl forced to flee from fast and fierce creatures in a deep forest. And I was glad to be deceived, because in return I got a story about a mysterious post-apocalypse (local or global, probably unknown), a religious community, revenge and transcendence. And all of this with virtually no words!

There are several important aspects at work here to hold your attention: the acting of Samara Weaving, the motivation and backstory of her character, the sound and music accompaniment, the design and behavior of the forest dwellers. And in each of these points, it seems to have done well.

“Azrael” is forced to bring the movie law ‘Don't tell, but show’ to the absolute, both micro and macro details, allowing the viewer to figure out cause and effect, world order and relationships for themselves. At the same time, without unraveling some blurred hints and images, everything is quite transparent and does not require intricate interpretations.

One particular scene, which somewhat “confuses the cards”, although it gives an emotional contrast, can be attributed to the minuses. Notorious “horror” is not very much here, but as a dynamic, paranormal thriller with a bias towards cultism, the movie works exemplary on many levels.