In Magnus Lyche’s short film, Ghoul, a mother (Anna Wilson-Jones) tells her son, Louie (Ewan McLatchie), a story about a king who falls in love with a woman from another village and promises to bring her and their son to live with him in his castle. But over time, the king changes, becoming a ghoul. The story spooks Louie’s stuffed rabbit, Duncan, and Louie asks Mum to stop.
The next afternoon, Louie is seen drawing a picture of the ghoul. One of Louie’s teachers comes to the door, concerned that Louie has been scaring classmates with stories about the ghoul. Louie’s stepfather (Philip Bulcock) answers, sparking an argument between Mum and the Man. During the fight, Louie glimpses what he believes is the ghoul hiding in the shadows.
Later, Louie tries to distract himself by cooking with his mom in the kitchen. She welcomes the bonding time, even as Louie creates a mess. In the middle of their preparations, Louie sees the ghoul again—this time right at the door. His mother feels the presence. As the door creaks open, the two are frozen in place.
“a mother… tells her son… a story about a king who… becomes a ghoul”
In a way, Ghoul centers on the story between Louie and his mother, showing how stories, especially about kings and knights, connect with Louie and offer comfort and hope. Through this tale, a mother and son can also talk about the real monster in the room.
As a film, Ghoul is a simple production. It takes place in a townhome and relies on the actors’ performances, a bit of shadow play, and a stellar soundtrack that conveys all the emotion and subtext so that you know exactly what is happening to our protagonists.
Ghoul is a hauntingly tender tale that slips right under your skin with emotional resonance and quiet dread. Magnus Lyche tells an authentic tale where imagination and trauma blur—anchored by touching performances and a shadowy menace that lingers long after it ends.
"…a shadowy menace that lingers long after it ends..."
