As I have mentioned many times before, the best aspect added to horror in recent years is the intense social commentary, which has truly elevated a genre that had become as preterit as it was flicky. Shugo Praico attempts something similar in his latest movie, “The Caretakers,” which also incorporates themes of ecology and a rather dramatic core in its narrative.
The Caretakers is available from EST Studios
City dweller Audrey arrives in the rural area where her late husband was born, accompanied by her two daughters, Ali and Agatha. Her purpose is to sell his estate and convince his relatives, Lydia and her children, that the sale would benefit everyone. However, things do not go as planned from the start. A disappointed Ali eventually learns the truth about her parents’ marriage, which fuels her resentment. At the same time, supernatural events begin to unfold, with Lydia warning Audrey about the power of Mayang, a deity said to surround everything. Audrey, however, refuses to listen, and the arrival of a couple interested in buying the property only complicates matters further. As unsettling incidents involve the youngest children of both families, a confrontation between the two mothers seems inevitable.
Shugo Praico crafts a layered narrative that unfolds across multiple axes. The differences between city dwellers and rural residents is the most prominent, mirrored particularly in the older daughters, although both families exhibit vastly different demeanors. These contrasts form the backbone of their conflict but are not the only cause. The disregard shown by the outsiders toward the region’s folklore becomes the main source of the horror, though the locals’ blind submission to Mayang is also depicted as self-destructive.
Check also this video
Property disputes and the familial tensions they spark form another layer of the story. These elements offer a second cause for conflict and contribute to the dramatic arc, with both mothers willing to die or kill for their children. The fact that both are sympathetic in their own ways makes their escalating interactions as gripping as they are unsettling.
These dynamics are elevated by the performances of Iza Calzado as Audrey and Dimples Romana as Lydia. Both deliver convincing portrayals of opposing characters who nonetheless share deep maternal instincts. The child actors, on the other hand, could have offered stronger performances.
The movie’s layered context is well presented, but the pacing falters slightly toward the end, culminating in a finale that, while visually and emotionally striking, feels somewhat rushed. That said, it does not significantly impact the overall quality.
DP Odyssey Flores captures the setting with an eye for both its natural beauty and its lurking menace. The house, in particular, is presented as increasingly suffocating, heightening the sense of dread. Mo Zee’s editing maintains a relatively brisk pace that suits the style well, with the only drawback being the unevenness of the ending.
Overall, “The Caretakers” is a well-executed, thematically rich, and visually engaging title that will satisfy any horror enthusiast.
