In director Emir Ezwan’s Roh (Malay for “soul”), Islamic influences and Malay folklore intersect. In the Qur’an, Iblis/Devil was thrown out of heaven and cursed to roam the earth. Malaysia’s legend dictates that a Spectre Huntsman was condemned to hunt in a forest with his ghostly dogs. Ezwan draws a chilling parallel between the two stories to create this hauntingly atmospheric horror debut.
In a non-contemporary but unclarified time period, single mother Mak (Farah Ahmad) and her preteen children Along (Mhia Farhana) and Angah (Harith Haziq) live in isolation in a sparsely populated Malaysian forest. When the arrival of a silent little girl caked completely in mud disrupts their normal routine, an ominous air settles over the forest. Following a blood-soaked prophecy, two more strangers appear in the village, causing Mak to question who she can trust and how she can protect her family from unknowable forces.
Richer with symbols than with plot points, Roh creates its horror primarily out of the unknown. Evocative images of fire and blood are placed throughout the film, not to scare but to prompt questions and instill the same mistrust and confusion in the viewers as in Mak and her children.
Although the filmmakers do not make use of many special effects, subtle tricks of the camera impress, and cinematographer Saifuddin Musa enhances the sinister quality of the surrounding woods. The film succeeds in establishing an unearthly mood. To draw viewers in, Roh depends on this atmosphere, tidbits of folklore, and the questions it raises—many of which are ultimately left unanswered.
Although its creeping pace and elusive meaning may not appeal to the masses, Roh is a unique entry into the horror genre and will find great success with a particular kind of viewer. Those interested in international horror with religious and folk influences should certainly give it a try. A deserving purchase for horror and world cinema library shelves. Recommended for public libraries looking to expand their Malaysian film offerings.