Lilim

I wasn't expecting Lilim to leave such a strong impression on me, but it did-and I can honestly say it's one of the best Filipino horror films I've seen in a long time. The atmosphere is haunting, the visuals are stunning, and the story is full of mystery, dread, and slow-building terror that really creeps under your skin.

The setting of a secluded orphanage during the Martial Law era added depth and historical weight, making the horror feel more grounded and real. Heaven Peralejo delivered an emotionally strong performance, and the supporting cast (especially the nuns!) brought a chilling presence to every scene.

I loved how the film mixed Filipino folklore with cult horror and psychological tension. The Lilim creature and the rituals surrounding it were terrifying but also symbolic in a really clever way. The cinematography and lighting (especially with all the candlelit scenes) made everything feel eerie and immersive.

If I had one small critique, it's that the pacing in the middle slowed down a bit-but the payoff in the end was totally worth it.

Overall Lilim is a masterfully crafted horror film that proves Philippine cinema can go toe-to-toe with international horror. Highly recommended if you're into atmospheric, thought-provoking scares.

Lilim (2025), directed by Mikhael Red, is a forgettable and utterly unscary Philippine horror film that trudges through its two-hour runtime with a tedious, poorly executed narrative. The special effects are laughably bad, with bald prosthetic heads on nuns looking so unnatural they resemble aliens from a cheap Hollywood B-movie, and the monster feels like a tacky carnival haunted house prop, destroying any tension. Eula Valdez's performance as the cult leader is bland, lacking the menace needed, and a baffling scene where she points a shotgun at Heaven Peralejo before shooting herself is confusing, worsened by shoddy effects. Heaven Peralejo, as the lead, struggles to salvage the film, but the glacial pacing and incoherent execution make fast-forwarding a desperate act to end the agony. Despite Red's reputation for stylish genre work, Lilim's abysmal visuals, lifeless acting, and an irrelevant mask that adds nothing make it a pathetic horror misfire best forgotten.

A girl (Heaven Peralejo) and her brother escape abuse and take refuge in a remote orphanage run by sinister nuns-a setup ripe for folk horror and chilling cult imagery. Unfortunately, Lilim squanders its premise with draggy pacing, weak scares, and unconvincing effects.

What Doesn't Work Boring & Draggy - The first hour feels like a slog, with repetitive scenes of characters wandering dark halls. The "slow burn" lacks tension, just... slowness.

Cheap Effects - The demonic visuals are either too dark to see or laughably low-budget (think: Shake, Rattle & Roll rejects).

Underwritten Characters - Even Peralejo's performance can't save her thinly written role. The nuns are cartoonishly evil with no depth.

Confused Themes - It wants to critique religion and trauma but ends up saying nothing new.

What (Almost) Works Heaven Peralejo's Effort - She commits fully, but the script gives her little to work with.

Moody Aesthetic - A few shots of the orphanage are atmospheric... until the lighting hides the weak VFX.

Interesting Lore - Hints at Filipino aswang mythology are there, but unexplored.

This is a well-crafted cult horror thriller and one of the best of its kind by local film standards. The story is well-structured and effectively executed. The lead performances by Heaven, Eula, and Ryza were spot-on, with each delivering strong portrayals of their respective characters. The film incorporates the Filipino myth of "Lilim" (worshippers of the demon Lilith), which adds a unique and well-thought-out element to the narrative.

While the pacing starts slow, the way the story unfolds keeps you intrigued, raising questions that compel you to watch closely. There are a fair number of jump scares, especially when viewed in a good theater. Though the concept, twists, and overall story aren't entirely unique, the performances and execution elevate it above the average horror film.

I believe this surpasses the quality of Eerie and Deleter, and it's disappointing that it didn't receive the recognition it deserves. What I admire about Mikhail Red's films is his reliance on atmosphere and practical effects rather than excessive CGI. In my opinion, this is his best 'horror' work to date.