Verdict:
Western ghost movies usually go through the mandatory scepticism phase, in which the characters doubt the supernatural nature of the unfolding events but are forced to reconsider. Exhuma is a supernatural horror film that’s filled to the brim with Asian superstitions, from Feng Shui to animal sacrifice, but Exhuma plays it completely straight from the outset, and all the characters are on board with what’s going on. The main characters are not some old ladies dressed in rags in a forgotten magical forest, but businesspeople from major cities. This busload of superstitions, presented in a businesslike manner without an ounce of scepticism, creates a very strange contrast and may challenge the viewer’s ability to suspend disbelief.
We are introduced to a team of professional shamans hired by a wealthy client whose baby has fallen ill. Naturally, the remedy is to relocate the deceased grandfather’s grave, to appease his spirit. Hwa-rim, plays the main protagonist with the sharp pragmatism of a businesswoman, which may lead some viewers to expect a twist where these shamans might be exposed as frauds, only for them to be confronted with a real supernatural event, but no, there is no twist like that. Everything is played straight.
While the film begins with a strong, clear narrative, the plot gradually becomes more convoluted, as layers of mystery and shamanic procedure are piled on. By the final act, the story unravels into an impenetrable mess, seemingly due to missing exposition. The last five minutes of the action in particular send the movie spiralling down.
The decisions of the protagonists are hard to follow. Of course, any questionable decision can be explained with another ritualistic reason, but apparently, many of the problems could’ve been solved by a specific act, but the team doesn’t do it until several people die, making these shamans seem to be incredibly careless at their job.
The film offers an interesting exploration of Korean culture. However, some prior knowledge of Korean and Japanese folklore and Korean history, including the anti-Japanese sentiment, is needed to fully grasp and appreciate the film’s context. Although some information can be inferred, you’ll be running behind the facts if you don’t have at least some basic knowledge.
Exhuma seems to be capitalising on the success of the box office hit, The Wailing (2016), which featured similar themes. Interestingly, The Wailing used the anti-Japanese attitude for misdirection, while Exhuma fully embraces it for its horror element.
Not only does the film take itself completely seriously, but it delivers an incredible level of cinematic quality, which only increases the contrast with its shamanic content. There’s excellent cinematography on display, with a skilful use of practical and CGI effects. The director makes creative use of reflections and geometry. Unlike Western horror films, “Exhuma” offers a wider variety and subtlety in jump scares, with the sound design playing an integral role in the building and the release of tension. The sombre colour palette underlines the grim subject matter.
The performances are strong across the board, especially the unnerved patriarch of the Korean American family. Hwa-rim skilfully depicts the depth of her character, lowering the facade of a confident businesswoman to reveal vulnerability, love for her friends and compassion for her clients. Exhuma defies conventional ratings. It is a visually stunning film with strong performances, but it is so jarring with its mountain of ritualistic content that it is hard to digest. I kept wanting to laugh, but the sombre 100% serious tone of the film, its tension, and its high production values wouldn’t let me. I wonder if this is how Christian thrillers appear to people not used to Christianity.