Hurt

It’s only after the first half that we delve into the slasher aspect, wherein slowly and subtly, the core elements of the genre enter. These horror sequences pay a nice tribute to the films that inspired Hurt. And when it does begin, it’s not just blood and death. The other half is dark, gritty, and mentally heavy. There’s no chasing, little blood, it’s not set at night in the dark, and there’s no direct violence. Instead, there’s trauma and tension, which is very well showcased via Jorel Odell’s cinematography, who, through his camera shots, maintains the creepy, eerie, and nerve-racking vibe throughout the film.

The editing by Jordan Jensen and Zachary Weintraub helps maintain that level of uneasiness and discomfort. In addition, the sound design uses silence and low-key ambient noise instead of intensifying stretches of tracks to support the outskirt, rural setting. The unusual use of sound works well as Mallhi maintains an unsettling awkwardness, which makes the film unpredictable. He also occasionally skips continuation, going back and forth in the timeline, which reduces clarity for a while before you connect the dots. However, for the most part, this move increases tension, intrigue, and the cumulative disturbance in the story.

“…a well-crafted experimental horror film…”

Hurt features a strong performance from Emily Van Raay, who carries the core thematic interpretations. She brings out the themes of isolation, trauma, depression, and relationship strife in a believable manner. While Mallhi has not centered his story specifically to give out a message, there’s a thought-provoking layer that stems from the concept of isolation and self-centeredness. How often does one ignore a call for help? That is something the film explores while ensuring that it does not exclusively dive into that and stays focused on the Halloween turned gray for Rose and Tommy.

Hurt is a well-crafted experimental horror film that plays with multiple key aspects of slashers while pouring a fresh, unconventional take on the genre. Unfortunately, since it’s idiosyncratic, the film gets slow and unmotivated from time to time. Furthermore, with various questions left unanswered, one may feel a sense of incompleteness as the credits roll. However, in the end, thanks to a brave revitalization of slasher films, Mallhi has crafted a worthwhile cinematic experience.