Nature abhors a vacuum. So do vengeful
spirits. It is time for another lesson in physics and metaphysics. This one
comes from Vietnam, but the vibe is certainly consistent with the K-horror and
J-horror traditions. Innocent young Ai has not been herself lately and that
means big trouble in Ham Tran’s Hollow (trailer here), which screens as part
of this year’s Macabro, the International Horror Film Festival in Mexico City.
Rebellious Chi does not really know why, but
for some reason she distrusts her well-heeled step-father, Vuong Gia Huy.
However, she adores her little half-sister Ai, even though she feels like the
young cherub has taken her place in their mother’s heart. She takes it harder
than anyone when Ai drowns while she was supposed to be watching her. Yet, only
copper uncle Thuc understands how much he is hurting. To keep the film’s
emotional pendulum swinging, Thuc thinks he has good news. When he went to
identify Ai’s body at the big city morgue, he found her inexplicably alive on
the slab. Of course, after the accident Ai becomes suspiciously distant and
frankly kind of weird.
Hollow definitely starts with the child-and/or-teen
in jeopardy template, but Tran’s execution is tight and tense, abetted by the pungently
evocative atmosphere. He out Blumhouses most Blumhouse productions.
Theologically, evil is defined not as the opposite of good but as its
perversion. This is a principle Hollow illustrates
in spades. For a genre film, it employs some pretty deep archetypal symbolism
of innocence and vengeance, while simultaneously calling out Southeast Asia’s
most pernicious social pathologies.
Despite all the lurid and paranormal elements,
the ensemble is admirable restrained. As Thuc, Jayvee Mai sets the world-weary,
spiritually bereft tone. He really looks like the sort of guy who pops an Excedrin
as soon as he rolls out of bed. Young Nguyen Hong An and even younger Lam Thanh
My also contribute remarkably assured performances, setting a gold standard for
kids in horror films.
