In the realm of horror, both witchcraft and possession tales are hardly new concepts, but aren’t two that are frequently seen together in the same film. Flee the Light, a Canadian-produced mystical folk-horror from Director Alexandra Senza, tackles both concepts and intertwines them seamlessly to deliver a gloomy, witchy fable.

It centers on sisters Andra (Annie Tuma) and Delfi (Ariana Marquis) who find themselves faced with having to tackle their own demons, both mental and literal. Andra is a Psychology student awaiting news on her impending entry to a prestigious school, while Delfi is struggling with unexplained health issues that make it difficult for her to even get through an average day. 

Early on, it’s established that Andra serves as the main caretaker and support system for Delfi, who understandably is having difficulty coping with, and understanding, what is happening to her. Plagued with visions of a woman in colonial-era clothing who oftentimes is seen vanishing into a burst of light, Delfi is hanging by a thread mentally and emotionally as she attempts to seek out an explanation for all of it. She is dismissed by both doctors and therapists, who essentially give up on her and refer her to a “spiritualist.”

Desperate for a solution to her dilemma, Delfi is willing and eager to speak with the woman she’s been referred to, but Andra has reservations. She’s convinced they should continue on a more practical approach, and clearly feels as though the concept and idea behind a spiritualist is absurd.

Though the sisters’ relationship begins to crack under the stress of it all, they agree to travel together to seek out a location Delfi has seen in her visions, in hopes to find answers. Along the way, they stumble across a strange bar that resurfaces memories and foresights in both of them. The tables are flipped as Andra now experiences her own frightening encounters, but with more severe and devastating results.

From here, Flee the Light becomes a much more typical possession movie, with the mythical undertones guiding it along. Though it offers little that hasn’t been seen before in countless iterations, it does contain some impressive makeup effects, particularly for an indie film. This is a movie whose crew utilizes every aspect of their budget in smart and innovative ways so that it doesn’t ever feel low-budget.

The strongest point, however, comes from the performances of Tuma and Marquis. Both portray the anguish and misery that accompanies deteriorating mental and physical health in convincing, tragic ways. There’s an ebb and flow that happens with both of them as they cling to the very fabric of their sanity, toggling between stoic clarity and hysteric terror. 

Adding to the atmosphere is a moody score and sweeping, gloomy cinematography that help the overall tone to leave the audience with an ever-increasing sense of dread. Though it doesn’t wrap up as neatly as it could, and ultimately may invoke more questions than solid answers, Flee the Light does a lot with its limited resources, and provides a unique take on a topic that runs rampant in horror.

6.5 out of 10