This is a completely new type of horror film for me. Guerrilla Metropolitana reached out to me with a proposition: watch their film and be brought into a world of “cinematic LSD.” Of course, this was an offer I could not refuse.
Labeled as a controversial, extreme arthouse horror film, Dariuss follows a family dealing with the pain and loss of their little girl through violence and sexual acts. Cries of grief followed by moaning, childish laughter, and dripping water are only overshadowed by the chaos in the family’s home. Everything is tied to this girl, from sorrow to regret, psychosis, and fear. Dariuss is anthropomorphized emotional turbulence.
Like that of the filmmaker, Dariuss was filmed using a guerrilla technique that utilizes do-it-yourself technology, like a handheld camera. Seen often in lower-budget indie work, this style gives the film a raw, gritty feel that adds to the realism of what is shown on screen. There is plenty of weird noise, sensual shot compositions, odd framing, and bold color grading that makes Dariuss feel as off-kilter as the family does. It’s as if you were living in the world right beside them, feeling their pain.
There is also blood… but more than blood. One scene in particular shows the during- and aftermath of a murder. Dripping viscera and the squelching sounds of bodily fluids are enough to make anyone shudder. While some may see this as exploitative, Dariuss fully embraces the “art” portion of arthouse and grasps those hard-to-watch concepts with both hands.
Most of the horror media I consume is commercial and meant for the masses. Rarely do I get to discover niche subgenres and all they have to offer. Dariuss is one of those films, showing that even with not a single word spoken, anguish in all forms can be conceptualized and fed to a receptive audience. Dariuss is definitely not one I would recommend to the majority of horror audiences, but for those who have an artsy side — those few ultra-niche friends I know — Dariuss is a film that will be discussed over and over.
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