The Whistler weaves folk horror with themes of grief and trauma

Diane Guerrero as Nicole in The Whistler - Courtesy of Vertical

The Whistler is a film with folk horror elements that are easy to identify. There's an outside force that's skeptical of the locals' practice of old rituals and religion. Heck, the movie even begins with reference to the Maria Lionza cult, a Venezuelan religion that believes in spirits and healing rituals. There are also incredible shots of sugarcane fields and natural landscapes that fill the frame and emphasize the land. These folk horror elements blend with character-driven themes of grief and trauma.

The movie stars Diane Guerrero (Orange Is the New Black, Doom Patrol) as Nicole and Juan Pablo Raba (Narcos, Agents of S.H.I.E.L.D.) as Nicole's husband, Sebastian. They embark on a trip to Venezuela after Sebastian's father mysteriously dies quite brutally. This trip is preceded by an opening sequence in which a young woman hides in the sugarcane fields, only be snagged by a man who cuts her hand with a large and scary-looking knife. He's then killed. You can probably guess who the man is.

Once in Venezuela, Sebastian and Nicole don't quite fit in. They're Americans through and through and are befuddled by talk of old rituals and superstitions, including a group of "squatters" that live near Sebastian's family property and ranch. Others tell him not to even go out after dark because it's too dangerous once the sun sets. Meanwhile, Nicole and Sebastian hear tales about a monster named The Whistler, whose backstory is explained by the film's second half. Additionally, Nicole and Sebastian encourage his mom, Isabel (Laura Garcia Marulanda), to move to the states with them, but she won't budge. Some of the dinner table scenes are my favorite because they really underscore the tension and clash between the urban visitors and the residents of this Venezuelan village. Nicole and Sebastian immediately assume that Isabel would be eager to move to the U.S., but it's simply not the case and also foolish on their part to assume they know what's best for her.

While Sebastian handles family business, Nicole ventures around the village and eventually encounters a group of villagers practicing a strange ritual. Initially, she fears them and dashes away. However, she later befriends them and pleads with the group to perform a ritual so she can contact her deceased daughter. The level of grief and trauma become more pronounced and shifts from Sebastian mourning his dad to Nicole's sense of loss. Her story especially is given more weight by the film's second half, and Guerrero is quite capable and good in the lead role. I wouldn't mind seeing her land more roles where she's front and center.

Further, the film has some gorgeous shots, including of sunsets, mountains, and the sugarcane fields, which at times feel like they'll swallow the characters whole. The film's main flaw is that it morphs into more of a demonic possession movie in the second half and though it's only 90 minutes, the pacing slows down too much before the finale. Additionally, though The Whistler has a backstory, it's just not that interesting of a monster and there aren't many memorable kills. There is a cool scene where we see a nest of sorts that The Whistler built to house its victims. They're stored in cocoon-like shells and strung from trees. It's a standout sequence compared to the film's rather timid second half.

Overall, The Whistler works best when it focuses on its folk horror elements and the conflict between the urban American visitors and the locals. The film contains some stunning shots and a solid lead performance by Guerrero. It falters when it treads generic creature feature and demonic possession territory.

The Whistler opens in theaters this weekend.