The Descent brings you face to face with your inner demons 👍 Noticias RTV

In its opening (a quick raft ride followed by a terrible accident), “The Descent” comes out swinging, hitting you with fast jagged cuts and harsh, creepy sound effects. The rest of the film barely stops from there, even when Sarah and the others aren’t crawling through suffocating caverns, clinging for dear life over vast gorges, or using climbing gear to make their way through hordes of screeching crawlers and they scratch trying to tear them apart. David Julyan’s music swings between wild bombshell and minimalist horror (sometimes even reminiscent of Ennio Morricone’s classic score for “The Thing”), while Marshall and his cinematographer Sam McCurdy use on-screen elements: torches electric, glare, night vision. lens: to illuminate the action in the caves in a suggestive and pleasant way.

Marshall’s thriller, which he wrote and directed, could be read as an allegory of pain and, yes, trauma, as Sarah and her friends try to get things back to the way they were, only to end up reopening old wounds (including some didn’t even realize they were there. Likewise, it’s also a careful look at female friendship, whether it’s the perk of drinking beers with close friends or the downside where persistent resentments or past betrayals threaten. to destroy the group before the pursuers can reach them. You can’t spend the same time with all the women here and some of them are just red shirts, but what you do with Sarah and Juno in particular is emotionally compelling and brings the film themes. (I had to do it, okay?)