The Vigil ★★★
SHEMIRA is a Jewish religious ritual during which somebody watches over the body of a deceased person from the time of their death until burial.
A male guardian is called a shomer and, occasionally, they have to deal with a malicious possessing spirit known as a dybbuk, believed to be the person’s dislocated soul. Usually the spirit is in the process of leaving the body but, occasionally, it may not want to leave.
This is the basis for The Vigil, a 2019 horror film that is attracting interest and praise, particularly the setting for its events and the atmosphere created.
It’s set in suburban Brooklyn and there is definitely an Exorcist vibe in the moment when young Yakor Ronen arrives outside the building where he has been paid to perform shemira duties.
Like Father Karras, the young, assistant priest from The Exorcist, Yakor is already having a personal test of faith when he finds himself thrust into a psychological battle with demon forces that prey on those displaying weakness.
When we meet Yakor at the start of the film he is attending an informal group therapy session for young Jewish people who have left orthodox upbringings and need support to find their way in a modern society that is almost alien to them.
As well as having trouble managing his finances, Yakor finds it hard to form relationships. On this particular night a fellow member of the group, Sarah, has asked him out and he is struggling to figure out the next move.
At the same time one of his former elders is maintaining a relationship with Yakor in the hope that he will eventually recognise the error of his ways and return to the fold.
The elder offers to pay Yakor to be shomer for the body of elderly Mr Litvak until it is removed from the home the next morning, partly in the hope that the job will help re-connect Yakor with his faith.
It’s important to explain the context for the film because most of the running time is spent with Yakov and Mr Litvak’s widow in the darkened home as they confront their fears, frailties and guilts, brought to the surface in conflict with the demon.
Atmosphere is the key to the film’s success and first-time director Keith Thomas is guided by several more experienced collaborators in Brett W. Bachman, the editor of Mandy and Colour Out of Space, and cinematographer Zach Kuperstein and sound mixer Patrick Burgess who both worked on the 2016 monochrome release The Eyes of My Mother.
It may seem like a minor film, but the talent behind the camera is evident, as is the central performance of Dave Davis as Yakov.
Where the film stumbles is due to Thomas’ script which tries to add depth by making Litvak the survivor of a German concentration camp but doesn’t bring this aspect to a well-rounded and meaningful conclusion.
Nevertheless, The Vigil is a very accomplished horror film debut.