Mikhail Red’s Lilim is masterful horror that impeccably blends psychological and gothic dreads, resulting to a triumphant extravaganza of visual and narrative tension.
Set against the backdrop of the turbulent Martial Law in ’80s Philippines, Red’s new horror emerges as a chilling portrait of tragedy, drama, and horror, that meticulously unfurls from the opening frames to closing credits. Following siblings Issa (Heaven Peralejo) and Tomas (Skywalker David), as they flee from the consequences of a crime: Issa’s murder of their abusive father, the film immediately greets with subtle pulses of tragedy and terror, the moment Issa’s pursuit of her brother lands them in a remote, eerie orphanage in the middle of a forest. Run by nuns, who claim independence from the Church, the orphanage gives the siblings a sense of refuge. But what begins as a seeming sanctuary eventually peels back layers of dreadful horror, revealing a sinister undercurrent that grips the audience towards an explosive resolution.
The script Red co-penned with his brother, Nikolas, thrives in subtlety and escalation, treating its very setting as a character, in itself, embedded with a palpable sense of paranoia and loss. The orphanage, with is creepy wall paintings and bizarre statues frozen in unsettling poses, becomes a perplexing labyrinth where lurking eyes and shadows hint at secrets too grotesque to fathom.
The orphans, young boys who are mysteriously sent forth for their “adoptive families”, who never really appear before the doorstep of the place, contribute to the mystifying riddle. This slow-building tension erupts with the arrival of a flesh-eating creature, a grotesque revelation that ties the orphanage’s secrets to a visceral, ancient terror.
Visually, Lilim is an extravaganza of dread and gore, made possibly by the incredible cinematography of Red’s father, Raymond. Utilising muted tones and tight framing, he transforms the orphanage into a suffocating abyss, complementing the plot’s creeping dread.
Mikhail’s direction does not fall short of wonder in ensuring the gentle progression of twists and turns of the screenplay, building momentum that explodes into a frenzy of gore and drama in the second half.
The synergy between the screenplay and Raymond’s visuals, guided by Mikhail’s vision, crafts an atmosphere so thick with unease that every frame feels like a step deeper into the doom.
The cast is exceptional, with Heaven Peralejo being the chilling focal point of the plot as Issa. She layers her character with a compelling complexity—her eyes flicker with resolve to save herself and Tomas, yet they show vivid flashes of guilt brought about by the crime of her doing, and the looming, vicious fate waiting for her. Peralejo’s impeccable nuances are underscored by Issa’s journey that intertwines with the nuns’ true nature, revealed as something primal and malevolent than mere caretakers, linking her doom to their existence in a spine-tingling fashion.
Eula Valdez and Ryza Cenon, as the film’s primary antagonists, are equally magnificent. Their portrayal of the mysterious nuns shifts seamlessly from serene composure to chaotic evil, their unraveling a terrifying spectacle of unleashed malice. The ensemble of female actors playing the supporting nuns magnify the dread, their nonchalant demeanor a quiet menace that amplifies that plot’s smothering tension.
Lilim stands out in Filipino horror for its bold fusion of gothic grandeur and psychological depth, and a lean into creature-driven scares. The orphanage’s decaying opulence and the nuns’ enigmatic authority evoke classic gothic tropes, while Issa’s inner turmoil and the creature plumb psychological depths. That said, the film is not without flaws—predictable beats and over-reliance on repetitive jump scares intermittently dim its brilliance. Still, these are minor stumbles that get eventually dwarfed by the film’s more imposing strides.
Though Lilim doesn’t redefine the horror genre, it stands as a resounding success—a testament to Red family’s creative concoction. Mikhail’s direction, his screenplay with Nikolas, and Raymond’s visual masterwork, converge beautifully to deliver a local horror gem brimming with genuine frights and existential dread. It’s a film that lingers, its shadows stretching far beyond the screen, whispering the unspeakable fates that bind Issa, the nuns, and the orphanage in a macabre dance of doom.
Rating: 4/5★★★★☆
Lilim is now showing nationwide. Watch the official full trailer below:
