Film Review: The Devil’s Doorway

When you think about it, the found footage format is a strange one. It’s one of the cheapest forms of filmmaking, allowing young/up-and-comers to craft a spook fest that doesn’t require the best make-up, effects, or any other razzle-dazzle because whenever a scene might require it, the camera can conveniently put it out of focus, off-screen, or any other trickery. However, it’s simultaneously one of the hardest storytelling styles to pull off because there are always a few fundamental problems associated with it. Why is there a camera? Why is the character still filming when shit goes down? Why is there music, or any other obvious post-production work when the footage is meant to be raw? How can you maintain any semblance of tension when the very nature of the format implies our characters are doomed from the get go?

The Devil’s Doorway is the latest in this now fading method of storytelling. And it is also another one of these found footage films where you will simply have to turn the other cheek with these questions. If you’re able to that, I think you might be in for a pleasant surprise.

The film takes place in an Irish Magdalene Laundry – a Church run institution for women – in 1960, where two priests, Fathers Thomas Riley (Lalor Roddy) and John Thornton (Ciaran Flynn), have been sent by the Vatican to investigate the alleged occurrence of a miracle. That miracle being blood flowing from the eyes of a Virgin Mary statue. The home is run by Mother Superior (Helena Bereen), who isn’t too keen on having the priests snoop around, especially given her resentment towards the fact that she is seemingly used to clean up the Church’s mess. Of course, as these stories often go, things are revealed, secrets are uncovered, and Father John is there to capture all the creepiness as it happens.

As I mentioned, if you are the kind of individual bothered by the same issues that tend to plague found footage films, this won’t change your feelings on the matter. However, there are some lovely details that provide a lot to admire. This is the directorial debut of Irish filmmaker, Aislinn Clarke, who co-wrote the film with Michael B. Jackson and Martin Brennan. She brings a refreshing vision to the format, taking advantage of the period setting, and creating a look that makes the film seem like it was shot on 16mm, complete with a grainy texture and mono dialogue track (though, I wish the rest of the sound was given this treatment). The aesthetic is a simple, but compelling one, and it adds a lot in creating a retro creepy atmosphere. I adore the look and feel of the film, and I love Clarke’s ability to build dread without resorting to the bombast of most mainstream horror.

Another thing that really struck me were the characters. They’re very much types – Father Thomas is the jaded, disenchanted mentor who is losing touch with his faith, and Father John is the young, devout apprentice eager to find evidence that validates his beliefs. Despite being archetypes, their interplay has a lot of spark, some humor, and even nuggets of truth when it comes to the Church and their shady practices, especially towards women. The characters are also very well performed, with Lalor Roddy being a standout. The supporting players are also quite effective. Helena Bereen brings a sinister presence that elevates a mysterious role. Lauren Coe makes the most in her brief turn as Kathleen O’Brien, a woman essentially being held like a prisoner by Mother Superior.

The Devil’s Doorway might not change your overall opinion on the value of found footage horror, but I think this film is one of not-very-many that actually brings a level of artistry that is lacking with other films of its kind. It’s got a ton of mood, rock solid performances, and an economically told story that gets you in and out in 76 minutes without feeling rushed. I will say though, the real star of the picture is Aislinn Clarke, who makes the most out of an obviously low budget, bringing the kind of scares you’d expect, while also having more on its mind regarding the complicated history of the Catholic Church. If she can bring this kind of ambition to a small project like this, I can’t wait to see what she can do with more resources in the future.