'Fuori dall'oscurità,' or 'Out of Darkness,' takes audiences on a gripping survival tale set 45,000 years ago. Directed by Andrew Cumming, this film not only showcases the instinctual fear of monstrous threats but also delves deep beneath the surface of human nature and societal behavior. While it was released back in 2022, the film has seen renewed interest, especially as it is being re-broadcast on television.
The storyline revolves around six individuals who find themselves stranded and struggling for survival in the wilds of prehistoric Scotland. The central figures include Adem (played by Chuku Modu), the assertive alpha leader; his brother Geirr (Kit Young); Ave (Iola Evans), who is pregnant with Adem's child; their son Heron (Luna Mwezi); the wise elder Odal (Arno Lüning); and Beyah (Safia Oakley-Green), the resourceful young wanderer among them.
Initially, the group is filled with hope as they set foot on this new land, dreaming of finding food and shelter. For Adem, the thrill of new territory overshadows the warning bells ringing within the more cautious Odal, who fears the unknown perils the land may conceal. The moment they discover the bloodied remains of some foolishly hunted animal, the atmosphere changes:
"We might be able to survive here—but how?” Adem’s bluster conceals his ignorance to the dangers lurking nearby. Soon, things take a dark turn when Heron vanishes during the night, leaving the rest of the group alarmed and uneasy.
This tension culminates when Adem recklessly hunts the unknown creature he believes is responsible for Heron’s disappearance. His bravado does not protect him; instead, he returns grievously injured, teaching the group the harsh lesson of their leader's impulsiveness as he suffers from significant facial injuries.
Starvation weighs heavily on them now, prompting Beyah to make the shocking suggestion of resorting to cannibalism to survive. Armed with practicality and pragmatism, it is not long before they decide to execute this morbid proposal. But complicity falters as Geirr resists, asserting the value of human life, igniting friction between the group’s fracturing dynamics.
Odal’s dismissal of Geirr’s protests only highlights the desperation and disintegration of morale within the camp. They decide to offer Beyah to the creature, thinking it might spare them from its wrath. Tragically, as the plot thickens, the creature is revealed to be neither the demon they imagined nor any supernatural menace; it is, shockingly, a Neanderthal woman wearing a grisly mask. This pivotal moment transforms the narrative, challenging the audience's perception.
During the ensuing chaos, Odal and Ave pay the ultimate price, losing their lives at the hands of the Neanderthal. The horrific incident propels Beyah to take matters back under her control, seeking vengeance against the unfamiliar foes threatening her existence. Following her own moral compass, she also encounters the Neanderthal male, whom she successfully overpowering and killing.
Confronted by her stormy emotions, Beyah discovers Heron alive and nourished within the Neanderthals’ dwelling. This layer of tension indicates they may not be the unforgiving enemies they were presumed to be. Ave’s body is treated with respect, leading Beyah to question everything they believed about the predatory forces around them.
Andrew Cumming provides clarity about his vision and the film's essence: "Il film parla della paura,” referencing how fear drives the characters' actions and decisions throughout the film, and pointing out its parallels with societal fears we face today. He elaborates on the thematic depth of the narrative, emphasizing how this film pivots around the shared terrors and moral dilemmas humans battle regardless of their time or circumstance.
He voiced, "Se le parole '45.000 anni fa' non apparissero all'inizio del film, questo potrebbe essere il futuro.” His comment resonates, as it draws parallels between the film's prehistoric world and current societal issues steeped in fear and divisiveness. The underlying message remains powerful; fear of the other, be it Neanderthal or fellow humans, isolates and subjugates kindness.
'Fuori dall'oscurità' prompts the audience to reflect deeply. The thrilling compilation of horror and cerebral elements resonates strongly, allowing viewers to reassess the layered identities of predator versus prey. Cumming has aptly wrapped this experience as one delving not only through the jungles of ancient landscapes but also through the complex vistas of human emotions—a reminder than when survival is at stake, fear can consume even the best of intentions.
Cumming concludes, urging audiences to embrace this perspective. "Penso che sia un messaggio davvero potente,” he argues, neatly encapsulating how the horror genre has transcended mere frights to raise thought-provoking questions about humanity. It's along this treacherous path, we discover, humanity often culturally reproduces its own demons.