[Panic Fest 2021 Review] The Djinn is an Intense Fairy Tale

What surprises most about David Charbonier and Justin Powell’s supernatural home invasion thriller The Djinn is that it’s technically their second film and yet their first to be released. Last year, The Boy Behind the Door made a splash at Fantastic Fest and while I’m hearing rumblings it’s soon to be released, it’s been relatively quiet since then. The Djinn, meanwhile, takes aspects of The Boy Behind the Door and hones them to a nicely produced sheen. And while I personally prefer their debut feature, it’s a strong follow-up and the biggest complaint I can muster is that it feels a little too familiar.

A cold open sets the date and time with an almost fairy tale opening line: “A quiet summer night, 1989…”. But while this bit of narration teases calm and peaceful things, the way the scene opens on Dylan (Ezra Dewey), a young boy asleep in his bed while his ceiling fan beats out a methodical rhythm, barely concealing the anguished cries of a woman. Dylan wakes and explores the sound, which is revealed to be his mother, crying in the kitchen, her back awash in an orange light of a candle that feels only a shade away from red. She turns to face Dylan, her face hidden by shadows as the candle blows out.

This haunting opening then transitions to another scene and another line (“Fall that same year--”) before reintroducing us to Dylan and his now-single father Michael (Rob Brownstein). They’ve moved to a new, two bedroom apartment, this time sans mother. Dylan, it’s revealed, is mute, has a Y-shaped scar on his chest and harbors a lot of guilt about his mother. “Do you think Mom would have stayed if I wasn’t different?” he signs to his father, who puts his hands on Dylan’s shoulder and reminds him he’s perfect, just how he is. A radio DJ who works nights, these opening moments are the only character establishment we get for Michael, whose voice pops in later on the radio to dedicate an anachronistic song by Timecop1983 to Dylan. With very little interaction between the two characters, Charbonier and Powell effortlessly establish their kind and loving relationship.

Even though he’s away for most of the picture, Rob Brownstein imbues The Djinn with so much warmth. Kudos also goes to the production design that also makes their new apartment feel warm and inviting, at least initially, as they go about setting up their new home. Dylan discovers a bunch of junk in his closet, including a stained mirror, a candelabra and, perched on the top shelf of the closet, a dusty, canvas-wrapped book with a pentagram and an ominous title, The Book of Shadows. In it, among arcane symbols and drawings, is a spell, “Wish of Desire” and some instructions. So that night, when his father is DJing, Dylan performs the ceremony and makes a wish to have his voice back. Unfortunately, he doesn’t heed the book’s advice or warning that, if he makes it to midnight his wish will be fulfilled…”but beware the Djinn’s toll because the gift you receive may cost your soul.”

From here, The Djinn is structured similarly to the writer/director duo’s The Boy Behind the Door, in that Dylan is a young boy, stuck in a small apartment with someone who wants to do him a lot of harm. For almost an hour of the film, it’s a Dylan vs Djinn fight for survival in a relatively small two bedroom apartment. What’s surprising is the amount of space and tension Charbonier and Powell are able to wring out of such a cramped space. Director of Photography Julián Estrada alternates between giving the space an incredibly open layout before turning up the tension and giving the apartment an immensely claustrophobic quality. Julián’s camerawork feels alive, to the point it feels like another character even when its not adopting a Djinn POV. 

Ezra Dewey turned out a fantastic performance in The Boy Behind the Door, but his nuanced portrayal of a kid who not only has experienced great trauma but is now faced with an almost absurd supernatural trial is phenomenal. Charbonier and Powell have no qualms about putting Dylan in danger and the physical threat of violence (and worse) hangs over every scene. Likewise, the Djinn is heartless in using Dylan’s trauma against him and the acute horror Ezra manages to evoke displays talent beyond his years. So much relies on Dylan’s reactions to the horror he’s unwittingly caused and Ezra rises the occasion.

Unfortunately, the scares are rather predictable and telegraphed and while I really loved Matthew James’ 80s-influenced synth score (which is begging for a vinyl release), the aural jolts are exaggerated and excessive. A couple creepy moments, such as a television’s black mirror reveal of the Djinn are almost ruined by the bombastic audio cue signalling we should be scared right now. Additionally, anyone coming to this expecting a story about the Arabian mythology of the Jinns will probably be disappointed, as this one takes popularized elements but isn’t really interested in exploring the mythology. 

That said, The Djinn is a competent spooker that works because of the tremendous lead actor, a killer soundtrack and stunning cinematography that made me forget the action is contained to a two bedroom apartment.