Slamdance 2023 Film Festival – One of the characters in The Underbug says, “Man killed man and created ghosts.” That quote summarizes what’s at play in a haunted house movie that’s about much more than old fashioned spooks. The lean feature explores India’s sectarian violence between Hindu and Muslim factions through the conflict between two unnamed men who seek refuge in a home that may or may not be haunted. It’s a layered film with some genuine frights.

Directed by Shujaat Saudagar and written by Abbas Dalal, Hussain Dalal, and Saudagar, the film begins with close-ups of the natural world, specifically bugs. This natural imagery contrasts deeply with the country’s turmoil. We’re then introduced to one of the men, played by Hussain Dalal, who escapes the riots and enters the house, his shirt bloodied, his foot dragging across the floor as pops of gunfire echo. Every little noise makes him jumpy, and for good reason, considering the violence on the eve of his country’s Independence Day. Soon, Dalal’s character encounters Ali Fazal‘s poet/prophet/rioter. Neither man can trust each other and refuse to say if they’re Muslim or Hindu. However, they’re forced to put their initial squabbling aside because they keep hearing strange noises and discover scratches and a fingernail on a piece of furniture and teeth under a bed. This isn’t a movie with jump scares or buckets of blood, but these creepy moments make this an effective horror film.

The feature also works so well because of Fazal and Dalal’s performances, specifically how they both offset each other, and play off each other. Dalal is much more restrained, but the worry and anxiety show all over his face. Fazal’s character, in contrast, is frenzied and speaks in cryptic terms. He’s over the top, but this is balanced with Dalal’s much more measured performance. Initially, nothing is revealed about each character, but as the runtime progresses, we slowly learn more about each. Over lamb they discover in the fridge, they act like brothers instead of men at each other’s throats. The character details are sprinkled throughout the film and handled rather well.

The sound design is excellent, not only Clinton Cerejo’s foreboding score, but the little creaks of the house and a staticky old radio that frequently plays. A DJ asks citizens what independence means to them, and their rosy answers are a stark contrast to the ongoing violence and the war within the house between the two men. The sound amplifies the scares and the country’s class and religious strife.

Horror has a rich history of using monsters and ghosts to address deeper social and political anxieties. The Underbug is the latest film to do this and do it well. The surprising ending is a sharp metaphor about India’s sectarian turmoil and what it means for the future. This is an effective haunted house movie with compelling performances and something important to say.

8 Out of 10