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Synopsis: “Magpie lives in an isolated church community ruled over by her father, The Pastor. When a man is murdered, paranoia sets in and people start to whisper about a strange ‘Beast’ that lives in the forest.”

Folk has to be the most terrifying subgenre of horror; its ability to show paranoia through old wives’ tales or even religious indoctrination transcends time. Sometimes the most evil creature that lurks within communities isn’t the most harmful; rather, it’s those who call it home. The Severed Sun isn’t revolutionary in its approach to folk horror, and it doesn’t have to be, but it leaves a lasting impact with its impressive creature design and relentless lead performance. Writer and director Dean Puckett’s feature debut shines a light on how isolation causes hysteria, turning neighbor against neighbor, friend against friend, with a deadly folk horror twist that illustrates how fear can fester in tight-knit communities.

Magpie (Emma Appleton) lives in a secluded community with her family, and to her unfortunate dismay, her father (Toby Stephens) is the pastor in the area. She’s not a woman who has much agency over herself; with a strict, overbearing father and an abusive husband, she’s desperate for a way out of her arranged marriage. Her first encounter with this mysterious demon creature comes after she murders her husband in the woods. Quickly, Magpie finds a target on her back for her husband’s murder, as more abusive men in her village find their way to an early grave a shocking act that sets off a chain reaction, as more abusive men in her village find their way to an early grave, leaving the community both terrified and hunting for answers. This dark turn of events ignites something within Magpie, stirring a newfound confidence within her.

There’s no shortage to the paranoia that Puckett managed to weave into his script in The Severed Sun; it’s at its best when Andrea (Jodhi Day) accuses Magpie of witchcraft after tragedy strikes her and her daughters’ home. Puckett uses this shadowy creature to expose secrets that before its arrival had gone unspoken. Andrea showcases how deep-rooted religion pulls a mask over our eyes to the horrors that are right under our noses, and how those under its influence seek answers within accusations rather than face the real answers. These two women come from almost the exact same background, yet they have differing views on how justice should be handled. The tension between Andrea and Magpie serves as a reflection of broader societal issues, illustrating how fear can warp perceptions and drive individuals to extremes.

The Severed Sun was shot in less than two weeks, which helps push along the sense of urgency within the isolated village. Most of the film is shot outside and is rather bare bones in its design. Fields that seemingly go on forever look like oceans of green, without a soul in sight other than this small group of villagers. Homes are incredibly modest, with only the bare essential furniture residing inside. Whether it was intentional or not, the minimal production design of the film creates an eerie atmosphere that is captured wonderfully by cinematographer Ian Forbes. At times, the green lush backdrop of the film felt magical, and had me wanting to get lost in the woods waiting for a prince, whether he was charming or of darkness.

For a feature debut The Severed Sun is an enjoyable atmospheric watch; the film hits a low point due to its lack of answers. Sure, there’s a kill here and there, but those seeking gruesome horror or a more damning view of religion will leave somewhat underwhelmed. The script leads the audience into some heavy material, touching on the intricacies of the nature of humanity, and yet leaves some of the darker aspects of abuse and indoctrination feeling somewhat glossed over. And although the film has one of the best creature designs that I can think of in recent years, its purpose in the film isn’t entirely fleshed out enough to decide its origins. Its horned, shadowy body with sharp claw-like fingers looms over the village, showing its form after a fresh kill, but disappears all too quickly.

Outside of the film’s visuals, it’s lead performance from Appleton carries the film through its slower moments. She plays a young woman whose ideals do not match the time or the convictions served by her father. Her performance is commanding when it needs to be, especially with her fellow villager Andrea. And during the few gory bits of the film, she doesn’t shy away from indulging her character’s darker side to show that she isn’t a saint herself. May also gives a stellar performance as Andrea; even when her character has little to say with words, her face gets her message across clear as day. Unfortunately, the film’s supporting roles don’t get much to work with, and their performances suffer from it. Stephens’ work as a pastor showcases a charming man with darkness just under the skin’s surface; his few scenes don’t delve into his true intentions enough, leaving more questions than answers.

Overall, The Severed Sun is an impressive technical piece of work that, although it doesn’t completely reach its potential in terms of storytelling, makes up for it with its creature design and captivating lead performance. Puckett shows he’s got the skills to put together a film with a strong message, letting audiences know to keep an eye out for more of his work.

Rating: 3.5/5

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