‘Dagr’ Review
Stars: Riz Moritz, Ellie Duckles, Tori Butler-Hart, Matt Barber, Emma King, Graham Butler, Hattie Chapman, Luca Thompson | Written by Matthew Butler-Hart, Tori Butler-Hart | Directed by Matthew Butler-Hart
On-screen text sets the scene for Dagr, clarifying that the unfolding film is video footage from an ongoing homicide investigation that professional filmmakers have edited. The opening footage establishes central characters Louise (Riz Moritz) and Thea (Ellie Duckles), best friends who are fame-seeking YouTubers with a huge following. The pair disguise their faces in order to make their videos, where they commit crimes such as theft and graffiti in the name of justice.
For their next video, the pair arrive at a lavish house where a commercial is being filmed. As the duo intend to steal fancy items to donate to the poor, they are unaware that the filming crew have accidentally awakened a druid demon from the past. What unfolds are strange occurrences which threaten their lives.
There is evident ambition within the direction of Matthew Butler-Hart, effectively capturing the sense of something grand through the use of so little. Tension is built with the use of empty spaces and glimpsed figures, while the repeated instances of technological interference is creepy. A lore is hinted at through snippets of imagery and conversations, adding to the found-footage style that is utilized throughout.
Driving the tale is the lead pair, with the performances capturing a believable friendship between a duo who see themselves as Vlogger Robin Hoods. When their moments work so well, it is a shame that the scenes with the filming crew feel more impenetrable. Their scenes feel like filler within an already slim runtime, and it does not help that the structure leaves the narrative feel disjointed.
As the story moves into the third act, the resurgence of found-footage tropes feels less than welcome. From the forced way the characters arrive at that point, to the constant recording as the horrors unfold, and especially the shaky camera work, it feels like a checklist of ideas that would not have been missed. The practical inclusions of such moments are understandable, yet one wishes the in-universe reasonings felt more justified. Despite this, Dagr remains an effectively crafted piece of low-budget folk horror.
*** 3/5
After screening as part of this year’s Manchester Film Festival, Dagr is now available to watch on VOD and digital platforms.
