In Bangladesh, after the world has ended, two sisters–Apu (Sunerah Binte Kamal) and Ayra (Nairah Onora Saif)–struggle to survive. With only one another and a mosquito net, they two must find ways to navigate the harsh reality that has befallen so many before them. Moshari is very much a story of survival; but it begs us to ask ourselves if we have what it takes to survive in a harrowing world, or if our human tendencies will cause us to fall.
Most horror films fail to scare me; they fail to truly terrify me in a way that resonates with me. I understand how some films reach viewers in this way, but I’m typically able to compartmentalize in a way that allows me to always see these things on screen during a horror film as fake. With that being said, Moshari is the first film in a long time that had what I believe to be the desired effect in terms of fear and the like. From setting to lighting and acting to special effects, everything about Moshari is horrifying. There were times when I jumped, shuddered, and bordered on shouting–and every second of the film continued to build on these things–never relenting, never giving viewers a chance to settle down.
Every part of this film works toward developing horror, and it does a brilliant job. The darkness that exists makes everything difficult to see, and a lot of things are difficult to decipher as a result. Visibility is limited during a good portion of Moshari, and viewers, with the characters on screen, are forced to navigate this terrifying reality. Darkness ultimately ends up playing the most pivotal role in the entire film, because as viewers struggle to see the terrors that lurk just inches from them, their minds run rampant. Darkness plays into the idea of unknowing–and that feeling of uncertainty, too, never relents, enticing viewers and scaring the shit out of them.
The strength and ability that it must take for such young actors to take part in a film like this is incredible–but Kamal and Saif never miss a beat. The two actors are brilliant, and they allow intensity to rise to the surface in each and every moment. While Moshari is really made possible by lighting and other aspects like this, it’s Kamal and Saif that ultimately act as the driving forces. The film can be dark, the dialogue effective and relevant, and the score can mirror the intensity of the narrative–but if these two actors aren’t able to convey emotion, if they aren’t able to put the story on their backs and move forward at an appropriate rate, Moshari fails. The film rests on their shoulders, and they are incredible from beginning to end.
The use of sound parallels the horrific nature of the story–and like everything else in the film, it only gets stronger as the film progresses. Loud, powerful, and beautifully blended with the other aspects of the film, sound works to pull viewers in even further–and it never lets go. Moshari not only looks and feels scary, but it sounds scary as well.
Moshari may just be one of the best horror films that I’ve ever seen. It does exactly what viewers should expect when watching a horror film, and it so brilliantly captivates audiences from the opening seconds. In just twenty short minutes Moshari does as much (maybe even more) than most horror films are typically able to do in more than an hour. A solid story is developed, and the many moving parts work together to support it throughout its entirety. Moshari is brilliant and deserving of every ounce of praise that it receives.
Written & Directed by Nuhash Humayun.
Starring Sunerah Binte Kamal, Nairah Onora Saif, Moyed Bhuiyan, & Tony Ji.
⭐⭐⭐⭐⭐⭐⭐⭐⭐½/10
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