Fans of 'Pet Kata Shaw' get another glimpse of the powerhouse that is Nuhash Humayun. Marks of his deliberate direction is on every department-from the first frame of the skull of a cow and a swarm of flies (indicating the film's soaked in blood and death) to the inclusion of Indalo's 'Hobeki'. Showing the creature just enough to expose what's happening rather than the budget. He included a very impactful jumpscare(I HATE JUMPSCARES; in the hands of a worse director they ruin the atmosphere and is the crutch to provide cheap scares) to elevate the tone.
'Moshari' is a story of two sisters encountering a mosquito-human-hybrid monster (great creature design) that is patriarchy in the guise of authoritarianism, misogyny, colonialism, classism (and other metaphors i probably haven't caught correctly, there is certainly some ecological commentaries too) that lives and breeds on the juice of life. Nuhash gives the characters a beating heart, which is the area of this genre that garners frequent criticism.
'Moshari' creates the dreadful atmosphere that is the heart of horror genre through Nuhash's fast paced editing, the pitch-perfect performance of both Sunerah Binte Kamal and Nairah Onora Saif, Ejaz Mehedi's superbly effective chiaroscuro lighting backed by great production design, Ye Min Sng's purposeful soundscape consisting breathing, shrieking, and other human sounds tinted with Dameer Khan's breathy ambience and flute-tabla infused heartbeats.
Now a bit of nitpicking (i mean i gotta criticise something to pose like a critic). The dialogues felt a bit mechanical, which reached its distracting peak in the middle where Apu was giving a lecture about the concept of moshari. The ending didn't feel very covincing. Why didn't Ayra straight up told Apu that the moshari's stuck in the door? I know that she's a kid who didn't understand what kind of danger she's in but she's already encountered the monster, right? But i digress.
'Moshari' is a story of two sisters encountering a mosquito-human-hybrid monster (great creature design) that is patriarchy in the guise of authoritarianism, misogyny, colonialism, classism (and other metaphors i probably haven't caught correctly, there is certainly some ecological commentaries too) that lives and breeds on the juice of life. Nuhash gives the characters a beating heart, which is the area of this genre that garners frequent criticism.
'Moshari' creates the dreadful atmosphere that is the heart of horror genre through Nuhash's fast paced editing, the pitch-perfect performance of both Sunerah Binte Kamal and Nairah Onora Saif, Ejaz Mehedi's superbly effective chiaroscuro lighting backed by great production design, Ye Min Sng's purposeful soundscape consisting breathing, shrieking, and other human sounds tinted with Dameer Khan's breathy ambience and flute-tabla infused heartbeats.
Now a bit of nitpicking (i mean i gotta criticise something to pose like a critic). The dialogues felt a bit mechanical, which reached its distracting peak in the middle where Apu was giving a lecture about the concept of moshari. The ending didn't feel very covincing. Why didn't Ayra straight up told Apu that the moshari's stuck in the door? I know that she's a kid who didn't understand what kind of danger she's in but she's already encountered the monster, right? But i digress.