Shaman: Missionary Horror

According to this film, Christian missionary work is tantamount to a deadly sin. Candice and her family came to Ecuador to provide food, teach English, and share the faith that has provided them inspiration and sustenance. Evidently, this is evil, in a “white savior” kind of way, so they will pay, horrifically, in Antonio Negret’s Shaman, which releases this Friday in theaters and on digital.

Frankly, Candice’s faith is fairly well earned at this point. From her perspective, it was thanks to God’s blessings that her husband Joel overcame his severe drug addiction. Their faith and gratitude led them to their current missionary postings at the foot of the Andes, but their son punky Elliot is less than thrilled with the arrangement. Nevertheless, their faith has been rewarded with yet another baptism as the film opens. Of course, that bores Elliot, so he wanders into a cave, where he awakens the ancient evil spirit, Supay.

After a long search, Candice retrieves the half-catatonic Elliot from the local Shaman’s dugout. His behavior changes drastically during the following days. At first, they suspect the Shaman dosed him with mind-altering substances, but eventually Father Meyer agrees to conduct an unsanctioned exorcism. The priest is a good man, but his faith has wavered, which is less than optimal for demon-dispelling, especially when the old, old-timers keep making ominous statements like: “your God has no power here.”

Honestly, the approach of director Antonio Negret and screenwriter Daniel Negret is so heavy-handed, it might leave fingerprints on your eyeballs. Obviously, they consider missionary outreach an original sin that demands retribution.

It is a shame, because the clash of cultures and beliefs could have provided an intriguing backdrop for a fusion of folk horror and demonic possession horror. (After all, Father Merrin managed to fight demons in Kenya throughout Dominion: The Prequel to the Exorcist.) In this case the Negrets also give their most compelling character, Father Meyer, decidedly shabby treatment.

Indeed, Alejandro Fajardo’s complex and subtle performance as the conflicted priest is largely wasted. However, Humberto Morales is definitely otherworldly looking, in a cinematic kind of way, as the wise and withered Shaman. However, Sara Canning is cold and off-putting as Candice, while Jett Klyne never fully establishes a persona for Elliot worth investing in, before his demonic troubles set in.

Cinematographer Daniel Andrade gives the audience a striking eyeful of the rugged Andean landscape, but the film is too predictable and too didactic to generate real scares. Ironically, Negret and Negret spend too much time sermonizing, shortchanging the eerie indigenous folk lore. Not recommended, Shaman releases this Friday (8/8) at the Laemmle Glendale.