I first heard about this film relatively recently through the Internet and, then, became even more interested in it when the now sadly defunct No Shame label announced two separate DVD releases a 1-Disc "Special Edition" and a Limited 2-Disc Set, with added supplements and even a replica of the powerful amulet depicted in the film! While a friend of mine who had watched DARK WATERS in the past told me he had been underwhelmed by it, I knew it'd be hard for me to resist blind-buying the not inexpensive set especially after reading the generally positive reviews which began cropping up (often accompanied by awesome-looking stills from the main feature). Even so, it took me a long time to finally sit down and as it eventually transpired dedicate a whole evening to the work of Mariano Baino!
Anyway, I was glad to see for myself (please bear in mind that I'm not usually a fan of the modern style in horror) that the hype surrounding this particular flick was indeed justified for this is surely one of the most audacious and impressive genre outings to emerge in the last two decades, even if the plot itself is derivative of several older 'classics'. In fact, the cut-off and openly hostile community smacks of THE WICKER MAN (1973); the inquisitive female lead (often dressed in red) and the generally weird goings-on brought SUSPIRIA (1977) to mind; the creepy girl featured in the flashbacks could well have strayed in from KILL, BABY KILL! (1966); and the members of a religious order with their blind leader (sinister-looking but eventually revealed to have benign intentions) stems from THE SENTINEL (1977). Besides, the film's overall look with full-size crosses fitted in candle-lit caverns, to where self-flagellating nuns habitually convene clearly owes a strong debt to ALUCARDA (1975).
Still, it all makes for a highly intriguing mélange of visceral thrills (Lovecraftian monster, some instances of gore including depictions of cannibalism) and mysticism (the afore-mentioned amulet, a mystery from the heroine's past residing within a series of riddles); dialogue is minimal as well (which is just as well in view of the fact that the film was shot in English in the Ukraine with a multi-national cast and crew), and there are definite moments of lyricism throughout (given its elemental and spiritual overtones). While rather drab-looking as opposed to the traditionally garish "Euro-Cult" style (DARK WATERS came at the extreme tail-end of the trend) and featuring a largely unobtrusive score, this austerity actually helps the essentially oppressive mood which permeates the film. The result, then, contains more than its share of haunting images: the line-up of nuns along the horizon carrying burning crosses, the grotesque figure of the crucified 'monster nun'(!), Sister Sarah's revolting 'unclothed' appearance as a half-human/half-beast at the climax, and the closing reveal of the heroine as the convent's new blind sentinel.
With an elliptical narrative (typified by the scene where the lead suddenly finds herself on the shore eating raw fish) infused with symbolism and the deft juxtaposition throughout of image and sound (a death in a blazing cabin intercut with a murderous attempt on Sister Sarah, or the association between children crying and the growling creature) this is the kind of film which needs more than one viewing to fully appreciate! At the end of the day, however, the evident low-budget of the production couldn't effectively cater to all the various themes conveyed in its over-ambitious script so that some plot points remain obscure (such as where the mural painter apparently dwelling within the depths of the convent fits in the whole scheme of things), whereas the fact that the appearance of the creature is downplayed during the climax was probably forced on the film-makers rather than a deliberate decision on their part but these don't effect one's evaluation of the finished product in any significant way.
Incidentally, the No Shame edition presents the film in a new director's cut (running 92 minutes though, not 89 as listed) which removes 7 minutes from the theatrical release version; this footage is still included as deleted scenes (even if it's perhaps the weirdest collection of outtakes that I've come across since, on several occasions, a mere number of frames were taken out of specific scenes!). As I said at the start, I followed this viewing with three short subjects by Baino, which proved equally stylized (and unpleasant) making for a decidedly grim night! I wish I had the time to delve into the other extras as well the two documentaries and the various commentaries as Baino seems to be a talent to watch, and I'd certainly like to know more about the main feature (whose making was reportedly fraught with problems).
Anyway, I was glad to see for myself (please bear in mind that I'm not usually a fan of the modern style in horror) that the hype surrounding this particular flick was indeed justified for this is surely one of the most audacious and impressive genre outings to emerge in the last two decades, even if the plot itself is derivative of several older 'classics'. In fact, the cut-off and openly hostile community smacks of THE WICKER MAN (1973); the inquisitive female lead (often dressed in red) and the generally weird goings-on brought SUSPIRIA (1977) to mind; the creepy girl featured in the flashbacks could well have strayed in from KILL, BABY KILL! (1966); and the members of a religious order with their blind leader (sinister-looking but eventually revealed to have benign intentions) stems from THE SENTINEL (1977). Besides, the film's overall look with full-size crosses fitted in candle-lit caverns, to where self-flagellating nuns habitually convene clearly owes a strong debt to ALUCARDA (1975).
Still, it all makes for a highly intriguing mélange of visceral thrills (Lovecraftian monster, some instances of gore including depictions of cannibalism) and mysticism (the afore-mentioned amulet, a mystery from the heroine's past residing within a series of riddles); dialogue is minimal as well (which is just as well in view of the fact that the film was shot in English in the Ukraine with a multi-national cast and crew), and there are definite moments of lyricism throughout (given its elemental and spiritual overtones). While rather drab-looking as opposed to the traditionally garish "Euro-Cult" style (DARK WATERS came at the extreme tail-end of the trend) and featuring a largely unobtrusive score, this austerity actually helps the essentially oppressive mood which permeates the film. The result, then, contains more than its share of haunting images: the line-up of nuns along the horizon carrying burning crosses, the grotesque figure of the crucified 'monster nun'(!), Sister Sarah's revolting 'unclothed' appearance as a half-human/half-beast at the climax, and the closing reveal of the heroine as the convent's new blind sentinel.
With an elliptical narrative (typified by the scene where the lead suddenly finds herself on the shore eating raw fish) infused with symbolism and the deft juxtaposition throughout of image and sound (a death in a blazing cabin intercut with a murderous attempt on Sister Sarah, or the association between children crying and the growling creature) this is the kind of film which needs more than one viewing to fully appreciate! At the end of the day, however, the evident low-budget of the production couldn't effectively cater to all the various themes conveyed in its over-ambitious script so that some plot points remain obscure (such as where the mural painter apparently dwelling within the depths of the convent fits in the whole scheme of things), whereas the fact that the appearance of the creature is downplayed during the climax was probably forced on the film-makers rather than a deliberate decision on their part but these don't effect one's evaluation of the finished product in any significant way.
Incidentally, the No Shame edition presents the film in a new director's cut (running 92 minutes though, not 89 as listed) which removes 7 minutes from the theatrical release version; this footage is still included as deleted scenes (even if it's perhaps the weirdest collection of outtakes that I've come across since, on several occasions, a mere number of frames were taken out of specific scenes!). As I said at the start, I followed this viewing with three short subjects by Baino, which proved equally stylized (and unpleasant) making for a decidedly grim night! I wish I had the time to delve into the other extras as well the two documentaries and the various commentaries as Baino seems to be a talent to watch, and I'd certainly like to know more about the main feature (whose making was reportedly fraught with problems).