Itim

Mike de Leon's directorial debut (he was art director or producer in previous works). A ghost story involving a botched abortion with haunting images and masterful camera work. Charo Santos is introduced here, before she became a big-time producer. While the story itself is not that groundbreaking, the cinematography and use of various lenses is enough to see it over and over again.

Itim (1976), also known as The Rites of May, is a masterful horror classic directed by Mike de Leon. The film follows Teresa, a woman haunted by the tragic and mysterious loss of her sister, Rosa. In one of Teresa's sleepwalking episodes, she crosses paths with Jun, a photographer captivated by her enigmatic presence. As their connection deepens, the mystery surrounding Rosa's disappearance begins to unravel, leading to a chilling exploration of grief and the supernatural.

This film exemplifies the power of subtlety in horror. The ensemble cast, led by Charo Santos in her debut role as Teresa, delivers outstanding performances that enhance the film's pervasive sense of dread. The screenplay is meticulously crafted, and the sound design is instrumental in creating an atmosphere of palpable tension. By eschewing traditional jump scares and loud noises, Itim instead builds fear through a slow, deliberate escalation, reminiscent of classic psychological horror films like The Innocents (1961).

The dark, brooding atmosphere of the film is compelling, drawing viewers into its eerie world for the entirety of its runtime. While some may find the pacing languid, this deliberate approach only serves to amplify the horror, making each scare more potent. The cinematography, particularly in the dream sequences, is exceptional, further enhancing the film's haunting quality.

Itim also serves as a cultural time capsule, offering a glimpse into the Holy Week traditions of the Philippines, customs that are rapidly fading in modern times. This cultural context adds depth to the film, making it not only a piece of horror cinema but also a significant reflection of Filipino heritage.

However, it is worth noting that the film includes a scene involving the death of a real animal, which may be distressing to some viewers. Caution is advised for those sensitive to such content.

Despite this, Itim remains a pinnacle of Filipino horror, skillfully blending religious symbolism with themes of taboo and the macabre. Even after more than half a century, it stands as one of the genre's finest achievements, a timeless piece that continues to resonate with audiences today.

The Rites of May or Itim is a recently restored 70s horror film from the Philippines. Rather than immediately alluding to demons or evil, the director subtly allows the rituals and beliefs of Catholic Holy Week to unfold in a realistic and respectful way. This is achieved by making one of the main characters a journalistic photographer, so he quietly takes pictures of different rites and processions. It is one of the strongest aspects of the film.

The character development is also excellent. The photographer, Jun, isn't an overtly bad guy but through repeated yet subtle examples his sense of rude entitlement as an urban rich kid disrespecting the poor people from his home village is shown. Jun constantly harasses his maid, Bebeng, and never thinks to ask anyone for permissions to take their photographs, he just assumes he can do whatever he wants - including obsessing over a young woman in the town.

From there the mystery slowly unfolds with the style and beauty seen in Italian horror films from the same era, while still authentically referencing the unique culture of the Philippines: a strange mix of both Latino and East Asian influences.

Arriving in a remote village, a photographer looking to do a story on the religious practices observed by the locals finds his trip complicated by his burgeoning interest in an enigmatic woman who is suspected of hiding a strange secret that he sets out to help her with to save her.

Overall, this one has quite a lot to like about it. Among the better elements at play is a rather strong and enjoyable setup featuring a highly enjoyable and chilling central storyline. With the photographer arriving in the village to document various religious practices being observed in the area and coming across the girl who's becoming more and more obvious that something is wrong with her, the eerie atmosphere of the village with how everyone takes to the strictness of their religious practices, and the strangeness of his dreams, there's a lot going on for the film. The connections that each of these seemingly disparate storylines offer once they come together is quite fun with the patience made to spell it all out due to a methodical pace that lets everything unravel appropriately. Once this is established, the film features a wholly impressive and immersive atmosphere playing off Catholic imagery and theming. Relying heavily on the use of prayer and observance of sacred rituals for the occasions, it becomes plainly obvious how important continuing the traditions is ingrained in the family. Featuring even more work throughout bringing across the perils of what happens to those who go across the teachings and what to do in those situations as we witness many of the characters carrying out coordinated instructions in a strict religious fashion, that allows the scares to arrive more fruitfully in the second half in his quest to help the young girl who's clearly troubled. While the full extent is kept hidden until then, the revelation of what's going on helps to generate some fun times with the concept at play making for some startling scenes. Featuring a thrilling seance scene to end things on a high note, these features provide a lot to like. There isn't much to dislike, but it does have some minor drawbacks. Among the biggest detriments is the rather unnecessary technical flourishes throughout here that are placed for little reason or purpose. Several scenes, including a conversation between a dad and his son that keeps cutting back to each other despite no one saying anything or featuring the photographer snap pictures during a funeral procession, showcase this tactic at the worst point. Each of these scenes is unnecessarily artistic and filled with camera tricks that aren't required and can be more distracting than anything with the way they're included in the film. As well, there's also the aforementioned slow-burn storyline that may not have the required pace and tempo to keep all audiences' attention as the low-key nature of the action and reliance on atmosphere could lead to some calling this somewhat plodding. Even when things become more overtly chilling it still keeps the intensity at a minimum which isn't something most will appreciate and will be what holds this down.

Rated Unrated/R: Violence and Language.