A Stranger in the Woods is an independent horror film that proves to be a gripping experience despite some minor shortcomings. Written and directed by József Gallai, from a story by him and Beáta Boldog, the movie weaves a tale of isolation, connection, and underlying dread in an effective use of “found footage.” The narrative follows Edith (Laura Ellen Wilson), a British cinema student with a troubled past who is determined to document the life of Victor (Bill Oberst Jr.), a self-imposed recluse. Victor is shrouded in mystery. Initially appearing as a mild-mannered loner who has rejected society, his true nature is slowly revealed in a way that keeps the audience on edge.
Oberst’s performance and physical appearance owe much to Max Schreck. In fact, the character name-checks Schreck, leading one to think that this is a retelling of the opening when Harker first arrives at Castle Dracula in Bram Stoker’s novel. The actor’s delicious work is nothing short of mesmerizing, utilizing small gestures and tonal shifts to create a sense of unease. His transformation from an eccentric hermit to something more sinister is executed with remarkable finesse. Wilson portrays Edith with a mix of vulnerability and resilience, making her a compelling protagonist who becomes a victim. Her strong performance ensures that Edith’s pain regarding her tragic backstory is never overplayed yet profoundly felt. The duo’s chemistry makes the film’s more unsettling moments all the more impactful.
While limited, the supporting performances are noteworthy. Horror icon Lynn Lowry makes a brief but memorable appearance as Edith’s grandmother, injecting a sense of urgency into the narrative. Gallai himself has a small but intriguing role as Peter, a mysterious “Renfield” figure who hints at the true nature of Victor’s past.
“…a British cinema student with a troubled past who is determined to document the life of Victor, a self-imposed recluse.”
A Stranger in the Woods, like Nosferatu, benefits from its deliberate pacing, allowing Edith and Victor’s dynamic to develop naturally. It is quite similar to the Stoker novel in the sinister repartee between Dracula and Harker. The isolated woodland setting is another strong point, reinforcing the sense of detachment from the outside world and amplifying the tension.
Despite its many strengths, the motion picture is not without flaws. A lengthy sequence involving police body cam footage feels jarringly out of place, almost as though it belongs in a different film entirely. The shift in tone is abrupt, and the voice acting in these segments lacks conviction, pulling the viewer out of the immersion that the rest of the movie so carefully crafts. Additionally, the end feels rushed, with the resolution coming across as somewhat forced. Given the careful pacing of the first two-thirds, the climax should’ve been handled with more nuance to maintain the emotional and psychological impact.
A Stranger in the Woods thrives as a character-driven psychological horror rather than relying on conventional scares. It is a retelling of the Dracula novel with hints of Nosferatu to form a superior vampire story. While the missteps in the final act and the unnecessary police footage sequence detract slightly from the overall experience, the film’s strengths far outweigh its weaknesses.
"…the film’s strengths far outweigh its weaknesses."
