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DIRECTED BY: Tatu Heikkinen, Veleda Thorsson-Heikkinen

FEATURING: Tatu Heikkinen, John Haughm, Veleda Thorsson-Heikkinen

PLOT: Strange events beset a grieving husband in the wee hours of the night leading into October 31st.

COMMENTS: The facts, as best they might be determined, are these: 1) the unnamed lead character has lost his beloved wife, and 2) his night-vision exterior surveillance camera picked up more than just a midnight rodent behaving in a silly manner. As for the rest of Haunters of the Silence, it’s just about all up for interpretation. A faded photographic image loses a balloon, a father (?), and finally a boy; ceremonial drumming may be a temporary cure for mind de-anchoring; and if a dream facsimile of your dead wife mutters “It’s okay”, perhaps it’s best to take her at her word.

Or not.

In the hopes of better explaining the Haunters of the Silence experience, I quote from director Tatu Heikkinen’s IMDb bio: “His work embraces abstraction and emotional stillness—rejecting the fast-paced editing in favor of grounded, contemplative storytelling.” This statement, as reflected in Haunters, is true in many ways. Heikkinen (and his real-life wife and co-director, Veleda Thorsson-Heikkinen) embraces abstraction and emotional stillness. Abstraction comes in many forms, many of them being unlikely camera foregrounds framing background action, for instance, but also long stroboscopic sequences, and plenty of forays into straight-up dream imagery. (The protagonist retreating through a large storm drain through the center of the Shadow Man’s menacing outline in the cosmos is of particular note.)

Haunters of the Silence does have fast-paced editing, though. Shots hastily flicker from one to the next, which might risk leaving the viewer disoriented if weren’t for the meticulous, subtle, and grounding sound design: the listener, as it were, is rarely if ever jarred from the dream-logic ordeals put before them. This sensory-tension works nicely with the temporal-tension: time does not pass per usual in this film, and the Ancient and the Modern co-exist, with incense-burning and buzzing smartphones pulling upon each other across the millennia of human ritual.

As the reader will have noticed, my remarks fell into abstruseness more quickly than usual here, but I blame that on what I saw (and heard). Haunters of the Silence is a weird thing to experience—and it is more in the realm of an experience than a customary film. Tatu Heikkinen and Veleda Thorsson-Heikkinen have built a precise sequence of sounds and images, which is as often baffling as it is beautiful. I give nothing away with this observation on the final scene when the Shadow Man emerges through the bedroom door of now-waking protagonist: life—like time, memory, and grief—does not finish so long as we are on this Earth.

If not longer.

Currently streaming on Relay, check the Haunters of the Silence official website for future updates.

WHAT THE CRITICS SAY:

“Haunters of the Silence is avowedly experimental; this is not a narrative piece of filmmaking in any recognisable way, so this review opens with a proviso: it will not be for everyone, and in fact it will probably appeal to a very select band of film fans.” — Keri O’Shea, Warped Perspective (contemporaneous)