Basileia

In her feature-length debut, Isabella Torre weaves together the supernatural and the sublime. Basileia is an enigmatic tale that feels more a dark parable than a traditional horror film.

In Aspromonte in Southern Italy, an archaeologist who goes by the mysterious sobriquet of “The Irishman” (Elliott Crosset Hove) becomes obsessed with excavating mythological creatures from the rugged landscape. He recruits the help of a Burkinabé immigrant (Koudous Seihon) for his mission, which soon turns awry when said creatures – otherworldly nymphs with glassy eyes and cascading tresses – ascend from the soil.

Torre makes use of the mountainous landscape, which is as much the main character as The Irishman. With minimal dialogue and ethereal cinematography, the direction recalls the early films of Terrence Malick, albeit with a thoroughly gothic spin. Shrouded in fog, The Irishman watches as the horror unfolds before him – but it’s a horror of his own making. As he plunders the unspoiled landscape, there are subtle allusions to colonialism, but it’s a subject that feels underdeveloped. A mythological clash with modernity, Torre’s film offers mere glimpses of a thematic vision, but unlike her protagonist, never excavates them.

Hove and Seihon give naturalistic and understated performances, which ground the movie in a reality that is soon upturned. The makeup and prosthetics used to give the nymphs their ghostly pallor and terrifyingly stony eyes are equally impressive. It’s beautifully shot and the aesthetics are seamless. Likewise, the juxtaposition of the sound editing and a suitably foreboding score prove the perfect accompaniment to Torre’s chilling visuals. But as a feature, it doesn’t quite work. The lack of tension belies its gothic atmosphere, and at times, scenes are meandering and repetitive. 

A haunting tale of supernatural horror, Basileia is a slow-burner that never quite lives up to the build. However, Torre is a highly talented young director and undoubtedly one to watch.

Antonia Georgiou

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