PopHorror Let's Get Scared
Directed by Aislinn Clarke, The Devil’s Doorway demonstrates familiarized filmmaking while incorporating unique elements that give it a distinct voice.
While called in to inspect the mysterious bleeding tears of The Virgin Mary statue within an Irish Magdalene Laundry for “insane and fallen” women, two priests (Lalor Roddy and Ciaran Flynn) soon discover other dark secrets that creep through the corridors of this harshly run Catholic home, and the repercussions that come with getting involved.
Having remnants of, and paying homage to the feel of 1960s and 70s horror films, The Devil’s Doorway produces the traditional aspect of demonic possession seen in The Exorcist, while housing suspenseful suspicions and gaslit detective work of The Wicker Man (1973), all while being entirely shot on beautiful 16mm. What director Clarke has created here is a film that shines strongly through its gothic and muted color palettes and grim cinematography, which magnifies the looming dread and realism for the chosen time period. All of these elements (especially the 16mm) tonally produce the right amount of authentic grit of a documentary being shot during the 1960s.
As over-saturated as found footage can sometimes feel in the genre, choosing this direction to take your film should all come down to it being the right filmmaking technique for the story, and director Aislinn Clarke uses all of her resources appropriately to personify this approach. The story of The Devil’s Doorway was meant to be told directly from the perspectives of the individuals experiencing it, demonstrating the rawness of the situation. The found footage approach occupies the space between the element of documentation and believability of the story, connecting the two together to create a sense of heightened realism.
The cast also presents a pure level of believability, having each character, along with their personalities and intentions, as different ends of the spectrum. The pale complexions and deadpan expressions of the nuns and confined women are enough to create a chilling and foreshadowing element to the atmosphere, with the character of Mother Superior (Helena Bereen) amplifying this. Her tactile way of avoiding the truth and making Father Thomas and Father John chase their tales in deceit (which is where The Wicker Man comes into play for me), shows powerful acting through the capabilities of subtle and natural reactions by the entire cast.
Whether a fan of point of view filmmaking or not, the element of which should not impact you as a viewer in regards to the story, its macabre setting, and its scares. This is a strong film that will lure your senses down the darkened doorways and surprise you with its chilling closeups and professional filmmaking demonstrated by the cast and crew. The Devil’s Doorway opens in select theaters and on all VOD platforms July 13 from IFC Midnight!
