SPELL (2020), directed by Brendan Walter and Mark Tonderai, is a psychological horror-thriller that delves into the unsettling intersections of race, power, and supernatural forces. Starring Omari Hardwick as Marquis T. Woods, a successful lawyer who finds himself trapped in the rural home of a mysterious woman named Eloise (Loretta Devine), the film blends elements of folk horror with psychological tension, crafting a narrative that is as much about personal demons as it is about external threats.

At its core, SPELL is a survival story wrapped in the aesthetics of Southern Gothic horror. While it treads familiar ground—isolated settings, sinister antagonists, and a protagonist fighting against unseen forces—it distinguishes itself through its cultural specificity and thematic depth. The film’s exploration of Hoodoo (not to be confused with Voodoo) as a central plot device adds a layer of authenticity and dread, grounding its horror in real-world traditions while amplifying its supernatural elements.

Plot Summary: A Descent into Nightmare

The film opens with Marquis Woods, a wealthy Black attorney, traveling with his family to his father’s funeral in rural Appalachia. After a tragic plane crash leaves him injured and stranded, he is taken in by Eloise, a seemingly kind but enigmatic woman who claims to be a nurse. As Marquis recuperates, he begins experiencing disturbing visions and realizes that Eloise is practicing dark rituals on him, using his body as a vessel for her own twisted purposes.

What follows is a harrowing battle for survival as Marquis attempts to escape Eloise’s clutches while uncovering the horrifying truth about her intentions. The film’s tension escalates through a series of nightmarish sequences, where reality and hallucination blur, leaving both Marquis and the audience questioning what is real.

Themes and Symbolism: Power, Race, and Cultural Horror

1. The Horror of Exploitation

One of SPELL’s most compelling aspects is its commentary on exploitation—both physical and psychological. Eloise’s manipulation of Marquis mirrors historical and systemic abuses, particularly those faced by Black bodies in America. The film doesn’t shy away from drawing parallels to medical exploitation (such as the Tuskegee experiments) or the broader history of Black trauma. Marquis, a man who has achieved professional success, finds himself stripped of agency, forced into a submissive role that echoes historical oppression.

2. The Supernatural as a Metaphor for Trauma

The supernatural elements in SPELL serve as a metaphor for unresolved trauma. Marquis’ strained relationship with his late father, his guilt over past decisions, and his internalized struggles with identity all manifest in the horrors he faces. The film suggests that trauma, like a curse, lingers until it is confronted—a theme reinforced by the Hoodoo practices that bind Marquis to Eloise’s will.

3. Cultural Authenticity and Hoodoo Representation

Unlike many horror films that appropriate African diasporic spiritual practices for cheap scares, SPELL approaches Hoodoo with a degree of respect and research. The rituals, symbols, and incantations used in the film are rooted in real traditions, adding depth to its horror. Eloise’s character embodies the archetype of the “conjure woman,” but the film subverts expectations by making her an antagonist whose power is both terrifying and culturally significant.

Performances: A Strong but Uneven Cast

Omari Hardwick delivers a gripping performance as Marquis, balancing vulnerability and determination as his character fights for survival. His physicality—particularly in scenes where he is immobilized—adds to the film’s claustrophobic tension.

Loretta Devine, a veteran actress, is chilling as Eloise. She oscillates between maternal warmth and sinister control, making her one of the film’s most compelling elements. However, some of her dialogue veers into camp, occasionally undercutting the horror.

The supporting cast, including John Beasley as Earl and Hannah Gonera as Marquis’ daughter, provide solid performances, though their roles are underdeveloped. The film’s focus on Marquis’ psychological journey means other characters often feel like narrative devices rather than fully realized individuals.

Cinematography and Atmosphere: Claustrophobic and Unsettling

SPELL excels in crafting an oppressive atmosphere. The rural setting—a decaying house surrounded by woods—enhances the feeling of isolation. Cinematographer José David Montero uses tight framing and shadowy lighting to amplify the sense of entrapment. The camera often lingers on Marquis’ immobilized body, forcing the audience to share in his helplessness.

The sound design is equally effective, with whispers, chants, and sudden silences contributing to the unease. The score, blending eerie ambient tones with occasional bursts of dissonance, reinforces the film’s nightmarish quality.

Criticisms: Pacing and Predictability

While SPELL succeeds in mood and tension, it struggles with pacing. The first act is slow, and while this builds atmosphere, it may test some viewers’ patience. Additionally, the film’s third act leans into conventional horror tropes, with a climax that, while satisfying, doesn’t fully capitalize on the psychological depth established earlier.

Some plot twists are predictable, particularly for seasoned horror fans, and the film occasionally relies on jump scares when its psychological horror is far more potent.

Final Verdict: A Thought-Provoking, if Flawed, Horror Entry

SPELL (2020) is a film that lingers—not just for its scares, but for its thematic weight. It’s a rare horror movie that engages with cultural history while delivering genuine suspense. While it stumbles in pacing and predictability, its strong performances, atmospheric direction, and thoughtful exploration of trauma make it a standout in the folk horror subgenre.

Rating: 7.5/10

SPELL may not reinvent horror, but it offers a fresh perspective within the genre. It’s a film that rewards viewers willing to engage with its deeper layers, proving that the most terrifying curses are often the ones we carry within ourselves.