Genre films have long been dismissed by the critical community, and as horror enthusiasts, we’ve grown accustomed to this lingering sense of snobbery. Yet, in recent years, a wave of exceptional films has compelled even the most discerning critics to pay attention. Titles like The Witch, Get Out, Hereditary, It Follows, and The Babadook – you know the ones - have redefined the genre. These films remain undeniably horror but carry an air of prestige. Their craftsmanship is undeniable, but more importantly, they offer deeper, more thought-provoking narratives than the typical slasher fare, making critics more comfortable admitting their admiration.

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While this may feel like a recent phenomenon, it’s worth noting that these so-called “elevated” horrors have existed for decades. They weren’t always labelled as such, but their essence remains the same. One recurring feature that binds many of these old and new elevated genre films is their penchant for period settings. The choice to set a story in the past often lends it a timeless quality, sparing it from the wear of modern trends. Combined with a theatrical aesthetic, these films naturally appeal to a more critical audience. From Picnic at Hanging Rock (1975) and Interview with the Vampire (1994) to The Others (2001) and The Lighthouse (2019), there’s a certain allure to old-world settings, drab colour palettes, and period costumes that filmmakers - and viewers - can’t seem to resist. Robert Eggers’ upcoming Nosferatu reimagining is further proof of that.

The latest to join this tradition is Þórður Pálsson’s The Damned…

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Set in a remote, rugged part of Iceland in the 1870s, the story follows Eva (Odessa Young), a young widow struggling to manage a fishing outpost left behind by her late husband. Supplies are scarce, nights are bitterly cold, and the crew under her command are disheartened. With their fishing yields insufficient, they’ve resorted to eating their own catch, essentially consuming their wages. Despite their resilience, morale is low.

One icy morning, just as the crew prepares to set out, they spot a large fishing boat in distress, rapidly sinking in the distance. While one of Eva’s men is eager to launch a rescue mission, Ragnar (played masterfully by Rory McCann), her second-in-command, warns against it. With provisions already stretched thin, bringing survivors back could spell doom for them all. The final decision falls to Eva, and although visibly torn, she sides with Ragnar, choosing not to intervene - a choice that may have devastating consequences for everyone involved…

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Had someone told you this was an early Robert Eggers film, you'd be hard-pressed to disagree. Þórður Pálsson’s directorial debut is more than just an exercise in atmosphere - it’s a masterclass in it. Rooted in Norse mythology, the film is an intriguing blend of psychological and folk horror and its meticulous historical detail, deliberate pacing, and brooding, immersive ambiance evoke clear echoes of Eggers’ signature style. For those drawn to the solemn, slow-burn horrors that have flourished over the past decade, The Damned offers a deeply atmospheric experience, wrapping viewers in its cosy yet oppressive claustrophobia. However, for those weary of this genre’s familiar rhythms, this film may only deepen that fatigue.

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From a technical standpoint, The Damned is an impressive achievement. Shot on location in a freezing Icelandic winter, the dramatic coastal backdrop naturally lends itself to striking visuals, but cinematographer Eli Arenson elevates it further, capturing the rugged sea and rocky outcrops as both beautiful and menacing. Arenson, known for her work on Lamb (2021) and the recent The Watched (2024), brings a sense of danger and mystery to the stark Icelandic landscape. These desolate exteriors are complemented by interiors steeped in darkness, lit only by flickering candles and lanterns that offer fleeting comfort. This uneven, warm glow creates abundant shadows and hidden corners - ideal for something, or someone, lurking just out of sight.

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Period films often risk succumbing to theatrics and overly dramatic performances, but the cast here delivers carefully restrained portrayals. Odessa Young (Assassination Nation) shines as Eva, a young woman navigating grief while shouldering immense responsibility despite her youth and inexperience. Her nuanced performance earns the respect of both the audience and the fishermen who rely on her for guidance. The adage, “With great power comes great responsibility,” comes to mind (famously uttered by Peter Parker’s uncle), as Eva learns firsthand how a single misstep can result in guilt and potential catastrophe. While the ending of The Damned may not resonate with everyone, its ambiguity aligns with the elusive nature of the looming threat, leaving delicate horrors lingering long after the credits roll.