Set 45,000 years ago, Out of Darkness is a bare-bones, Paleolithic thriller filmed in the haunting landscapes of Gairloch, Scotland. It narrates the treacherous journey of a small hunter-gatherer tribe confronting a mysterious figure intent on their demise.
The group is initially bonded by purpose, led by Adem (Chuku Modu) and his pregnant partner Ave (Iola Evans), a clear homage to the biblical couple, symbolizing man’s genesis and trials. Adem soothes the fears of his young son Heron (Luna Mwezi) and vulnerable younger brother Geirr (Kit Young) as they progress toward the distant hills with an unease fueled by the chilling campfire tales of the elder Odal (Arno Lüning).
Overhead, the skies are a heavy slate gray; beneath their feet, the ground is littered with perilous stones. The foreboding shadows of the forest and eerie sounds of the night send a shiver of panic through the tribe. Even so, one brave young woman, Beyah (played with determination by Safia Oakley-Green), stands ready to confront whatever horrors lie ahead.
Out of Darkness distinguishes itself with exquisite cinematography and linguistic novelty. Director Andrew Cumming’s decision to employ a fictional language called “Tola,” a blend of Arabic and Basque created by Scandinavian academic Daniel Andersson, adds a layer of authenticity to the prehistoric setting. Coupled with the cast’s fluid delivery, the novel script immerses the audience in the harrowing saga.
The film thrives on its convincing performances, natural lighting, and slow-burn storytelling. Despite this marking his directorial debut, Cumming astutely borrows the anticipation-building strategies of classics such as Alien and Invasion of the Body Snatchers by wisely postponing the revelation of the sinister entity stalking the tribe. He intensifies the apprehension through strategic shadow play and the ghostly sounds of the wilderness, demonstrating a sophisticated handling of suspense that belies his newcomer status.
The film’s tension is palpable. Ben Fordesman’s cinematography transforms the Scottish Highlands into a character of its own: trees whisper threats, shadows shift menacingly, and the snap of twigs signals looming danger. Paired with a minimalist narrative, his talent behind the lens makes for an atmospheric survival thriller.
As the pack’s tribulations unfold, Beyah emerges as a beacon of resilience and the human spirit’s indomitability. But her repeated success in evading a predator that has dispatched most in her party, including its towering 6’4” leader, invites scrutiny.
The “final girl” trope, a staple of the horror and thriller genres, celebrates a protagonist’s cunning and ingenuity. Yet in an environment devoid of modern technology and with limited external assistance, having an early adolescent consistently evade a dangerous, shadowy foe possessing superior anatomical strength may flatter modern sensibilities, but pushes the boundaries of plausibility. Even wit has its limits when confronting brute primal force.
Nonetheless, Ruth Greenberg’s screenplay, informed by historical research, offers a satisfying conclusion that reflects on ignorance, fear, and mankind’s dual capacity for cruelty and kindness. It also elevates humanity itself to a character within the ensemble, giving our most timeless traits their own cinematic close-up.
Though some plot elements may stretch believability, Out of Darkness offers a gripping 87-minute journey to an epoch rarely explored by modern cinema. While certain sequences may feel slow to those seeking a steadier dose of adrenaline, the film unfolds as a quietly intense story, marked by deliberate pacing and insights into the complexities of human nature.