Wikipedia.org defines Folk Horror – a subgenre of the wider Horror film category – as fiction that utilizes folklore in order to weave its wicked web. While some argue that Folk Horror is by and large little more than an extension of tales exploring the supernatural, a key difference is that the setting itself takes on a life of its own in the story, so much so that the place, circumstances, and characters cannot be separated from one another and yet have the journey preserved. All of these bits and pieces – i.e. an isolated setting (often rural), the spirituality and its practitioners, their beliefs and superstitions, etc. – work in unison to create the whole; and it’s their precisely balanced union that makes the experience unique to this world as defined.
An article on Collider.com lists what that site purports to be the 25 best Folk Horror movies of all time (keep in mind, readers, that such lists are often highly subjective, which is why yours truly tends to avoid them). The author identifies such projects as Wes Craven’s The Serpent And The Rainbow (1988) as an example of the subgenre. Other entries include 2018’s The Apostle, 1968’s Witchfinder General (starring the legendary Vincent Price), and 2019’s somewhat divisive Midsommar. Even 1999’s Sleepy Hollow from Tim Burton gets a nod; and I point out these films to show that Folk Horror is not a new invention (as some have claimed it to be) but rather it’s a storytelling motif that’s been around for some time and will likely be here as long as there are cows in them there fields. (Remember: it’s typically a rural setting. Cows? Rural? Get it?)
Though I could be wrong, I’ve often pointed out that Folk Horror isn’t all that popular with mainstream audiences. Occasionally, a flick like The Blair Witch Project (1999) breaks through all of the other cinematic noise and brings a welcome success to the playing field; but it seems to me that uniquely stronger entries – like Midsommar or 2018’s Hereditary – don’t resonate as strongly with mainstream audiences as do more conventional features like, say, the Friday The 13th saga, the ongoing bloody exploits of Michael Myers, or any one of the Saw chapters. I think it takes a special kind of fan of Horror to wade through one of these folksy properties; and, as such, their successes are often more critical than commercial. They may not lose money, and yet they don’t become household I.P.s, either.
2024’s Exhuma – written and directed by Jang Jae-hyun – is a solid example of what Folk Horror looks like in far East. Its story revolves entirely around a spiritual component tied directly to the Korean people, making it the kind of tale that would be difficult in any sizable way to Americanize a knock-off. It stars Kim Go-eun, Choi Min-sik, Lee Do-hyun, and Yoo Hae-jin in prominent roles; and – even though I rarely highlight such information before my break below – each player turns in a fabulously nuanced take on their specific characters. While I may’ve struggled a bit here and there to understand fully what was taking place, it’s still a grand tale told against the backdrop of cultural mysticism unlike anything else you might see in cinemas this year.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The process of excavating an ominous grave unleashes dreadful consequences buried underneath.”
An article on Collider.com lists what that site purports to be the 25 best Folk Horror movies of all time (keep in mind, readers, that such lists are often highly subjective, which is why yours truly tends to avoid them). The author identifies such projects as Wes Craven’s The Serpent And The Rainbow (1988) as an example of the subgenre. Other entries include 2018’s The Apostle, 1968’s Witchfinder General (starring the legendary Vincent Price), and 2019’s somewhat divisive Midsommar. Even 1999’s Sleepy Hollow from Tim Burton gets a nod; and I point out these films to show that Folk Horror is not a new invention (as some have claimed it to be) but rather it’s a storytelling motif that’s been around for some time and will likely be here as long as there are cows in them there fields. (Remember: it’s typically a rural setting. Cows? Rural? Get it?)
Though I could be wrong, I’ve often pointed out that Folk Horror isn’t all that popular with mainstream audiences. Occasionally, a flick like The Blair Witch Project (1999) breaks through all of the other cinematic noise and brings a welcome success to the playing field; but it seems to me that uniquely stronger entries – like Midsommar or 2018’s Hereditary – don’t resonate as strongly with mainstream audiences as do more conventional features like, say, the Friday The 13th saga, the ongoing bloody exploits of Michael Myers, or any one of the Saw chapters. I think it takes a special kind of fan of Horror to wade through one of these folksy properties; and, as such, their successes are often more critical than commercial. They may not lose money, and yet they don’t become household I.P.s, either.
2024’s Exhuma – written and directed by Jang Jae-hyun – is a solid example of what Folk Horror looks like in far East. Its story revolves entirely around a spiritual component tied directly to the Korean people, making it the kind of tale that would be difficult in any sizable way to Americanize a knock-off. It stars Kim Go-eun, Choi Min-sik, Lee Do-hyun, and Yoo Hae-jin in prominent roles; and – even though I rarely highlight such information before my break below – each player turns in a fabulously nuanced take on their specific characters. While I may’ve struggled a bit here and there to understand fully what was taking place, it’s still a grand tale told against the backdrop of cultural mysticism unlike anything else you might see in cinemas this year.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The process of excavating an ominous grave unleashes dreadful consequences buried underneath.”
In my quest to discuss film, I’ve written before about Eastern mysticism. It’s an idea that covers a whole wealth of topics, not the least of which include ideas of love and acceptance, one’s place in a complex universe, and how life is a combination of what we both see and cannot see. It’s a deeply spiritual manner in which one assesses oneself in union with others and nature; and it’s been the subject of a great many Horrors from Japan, China, and Korea. Some link it to an altered state of consciousness, but I do try to keep it on a level that I’ve no trouble comprehending if not a point that there’s at least modest consensus.
Exhuma offers some fabulous narrative examples of how the Korean culture looks at things like life and legacy so very differently than we do here in the West. Park Ji Yong (played by Kim Jae-cheol) asserts that there remains a lingering curse on his family owed to the burial of his grandfather, an ancestor whose history is shrouded in a bit of mystery. Park enlists a Korean shaman Lee Hwa-rim (Kim Go-eun) and her partner Yoon Bong-gil (Lee Do-hyun) to both locate the grave and exhume it under the ceremonial ritual so that the body can be finally laid to proper rest. To do so, Lee and Bong-gil require the assistance of Kim Sang-deok (Choi Min-sik) and Go Yeung-geun (Yoo Hae-jin), Feng shui experts schooled in the manner of handling the deceased in order to ensure all cultural customs are properly respected.
However, problems begin to surface with Kim Sang-deok eventually locates the grave, and it’s clear that the Park family has not disclosed everything known about their deceased grandfather. His coffin was placed out of spiritual alignment – suggesting that he would not be welcomed into a peaceful afterlife – and the small tombstone lacks the markings to indicate who exactly was buried in the unhallowed ground. The expert senses a dangerous energy surrounding the area, but he’s finally convinced to go ahead with the plan if a ritual is performed to remove the curse during the exhumation. Suffice it to say, things don’t exactly go as planned – do they ever in the world of Horror – and the grandfather’s evil spirit is accidentally released and must be recaptured and destroyed if the Park family is to have any peace.
This is really only the first act of what unfolds in a traditional three-act story. Vanquishing the troubled soul serves to only open the door to the fact that the burial site hides an even greater secret, one linked to some rather dark, shared history between Korea and their past Japanese occupiers. Our four spiritualists come to learn that there’s an even greater demon waiting in the wings; and only they – working together with the knowledge of the cultural expertise – might stand between this awakened warlord with a thirst for human blood.
For reasons I don’t quite understand, the story is structured in chapters, each section highlighted with some white text detailing the chapter and title. Though I’m usually accepting of such post-production trickery, I found it a bit pedantic here. Is this some fairy tale you’re trying to portray; and – if so – why does it feel like the chapters are a screenwriter’s invention and not organically tied to plot points? While the occasional text call-out might’ve been necessary to explain something elementary – like the passage of time – these just didn’t feel all that necessary. Unless these chapter headings align with some kind of cultural association that I’m unaware of (not being of Korean heritage), I’m uncertain of why anyone would’ve seen value in their insertion.
Exhuma offers some fabulous narrative examples of how the Korean culture looks at things like life and legacy so very differently than we do here in the West. Park Ji Yong (played by Kim Jae-cheol) asserts that there remains a lingering curse on his family owed to the burial of his grandfather, an ancestor whose history is shrouded in a bit of mystery. Park enlists a Korean shaman Lee Hwa-rim (Kim Go-eun) and her partner Yoon Bong-gil (Lee Do-hyun) to both locate the grave and exhume it under the ceremonial ritual so that the body can be finally laid to proper rest. To do so, Lee and Bong-gil require the assistance of Kim Sang-deok (Choi Min-sik) and Go Yeung-geun (Yoo Hae-jin), Feng shui experts schooled in the manner of handling the deceased in order to ensure all cultural customs are properly respected.
However, problems begin to surface with Kim Sang-deok eventually locates the grave, and it’s clear that the Park family has not disclosed everything known about their deceased grandfather. His coffin was placed out of spiritual alignment – suggesting that he would not be welcomed into a peaceful afterlife – and the small tombstone lacks the markings to indicate who exactly was buried in the unhallowed ground. The expert senses a dangerous energy surrounding the area, but he’s finally convinced to go ahead with the plan if a ritual is performed to remove the curse during the exhumation. Suffice it to say, things don’t exactly go as planned – do they ever in the world of Horror – and the grandfather’s evil spirit is accidentally released and must be recaptured and destroyed if the Park family is to have any peace.
This is really only the first act of what unfolds in a traditional three-act story. Vanquishing the troubled soul serves to only open the door to the fact that the burial site hides an even greater secret, one linked to some rather dark, shared history between Korea and their past Japanese occupiers. Our four spiritualists come to learn that there’s an even greater demon waiting in the wings; and only they – working together with the knowledge of the cultural expertise – might stand between this awakened warlord with a thirst for human blood.
For reasons I don’t quite understand, the story is structured in chapters, each section highlighted with some white text detailing the chapter and title. Though I’m usually accepting of such post-production trickery, I found it a bit pedantic here. Is this some fairy tale you’re trying to portray; and – if so – why does it feel like the chapters are a screenwriter’s invention and not organically tied to plot points? While the occasional text call-out might’ve been necessary to explain something elementary – like the passage of time – these just didn’t feel all that necessary. Unless these chapter headings align with some kind of cultural association that I’m unaware of (not being of Korean heritage), I’m uncertain of why anyone would’ve seen value in their insertion.
Exhuma delivers thrills and chills mainly on the back of its cast’s brilliant performance and some incredibly foreboding atmosphere crafted by director Jang Jae-hyun. The plot isn’t always easy to follow – especially for this admitted Westerner – as a greater command of Korean history and folklore might’ve even raised the bar a bit more. Thankfully, the visuals and some minor exposition here and there go to great lengths to provide the required context – albeit a bit quick in some spots – so I didn’t feel as if I were missing anything essential once I arrived at the climax. One sequence wherein Sang-deok verbally walks through the steps necessary might feel a bit too elementary to some; while that’s a legitimate gripe I’d still argue all involved saw it as necessary to show just how the rules of mysticism worked to give our heroes a chance to live to see another day when faced with such unimaginable odds.
Exhuma (2024) was produced by MCMC, Pinetown Production, and Showbox Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment. As for the technical specifications? Wow. While I’m no trained video expert, I found the delivered sights-and-sounds to be astounding. There’s some fabulous use of special effects here and there to convey both ghostly apparitions and the menacing giant of a demon; and they weave rather seamlessly with everything as photographed. Lastly, if you’re looking for special features? Alas, there’s a single making-of bit that really feels more like a bloated theatrical attraction, and that’s all she wrote. It’s nice, but, yes, I would’ve liked to know vastly more about (minimally) the cultural trivia showcased throughout the work.
Strongly Recommended.
Bluntly, Exhuma (2024) is likely not going to be for everyone. There’s a series of slow payoffs to the dark tale; so, yes, it does take a bit of time before really kicking into the more traditional track that fuels a great many Horror features. The folk elements are fairly heavy in the first half and then they get displaced a bit when the chills grow a bit more conventional. I wouldn’t be surprised for some to find the pacing a bit disjointed. But the dynamic whole is still one solid vision – one elevated by the great work of some marvelous onscreen talent – and if you’re patient then you’re definitely going to be rewarded in the last act.
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of Exhuma (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Exhuma (2024) was produced by MCMC, Pinetown Production, and Showbox Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment. As for the technical specifications? Wow. While I’m no trained video expert, I found the delivered sights-and-sounds to be astounding. There’s some fabulous use of special effects here and there to convey both ghostly apparitions and the menacing giant of a demon; and they weave rather seamlessly with everything as photographed. Lastly, if you’re looking for special features? Alas, there’s a single making-of bit that really feels more like a bloated theatrical attraction, and that’s all she wrote. It’s nice, but, yes, I would’ve liked to know vastly more about (minimally) the cultural trivia showcased throughout the work.
Strongly Recommended.
Bluntly, Exhuma (2024) is likely not going to be for everyone. There’s a series of slow payoffs to the dark tale; so, yes, it does take a bit of time before really kicking into the more traditional track that fuels a great many Horror features. The folk elements are fairly heavy in the first half and then they get displaced a bit when the chills grow a bit more conventional. I wouldn’t be surprised for some to find the pacing a bit disjointed. But the dynamic whole is still one solid vision – one elevated by the great work of some marvelous onscreen talent – and if you’re patient then you’re definitely going to be rewarded in the last act.
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of Exhuma (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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