Djinn

Set in the United Arab Emirates, it delves into the realm of the djinn.

The film, which is a production of Image Nation, is presented in both Arabic and English languages. Initially slated for release in 2011, its theatrical debut was postponed until its premiere at the Abu Dhabi Film Festival on October 25, 2013.

Tobe Hooper’s involvement as director marked his final contribution to cinema before his passing in 2017. The cast features a diverse ensemble of talent.

Leading the narrative are Razane Jammal as Salama, Khalid Laith as Khalid, and Aiysha Hart as Sarah. Abdullah Al-Jenaibi portrays Nasser, while Carol Abboud takes on the role of Zaynab.

Other notable performances include May Calamawy as Aisha, Militzia Radmilovic and Kristina Coker as Umm Al Duwais, and Ahd as the voice of Um Al Duwais.

The ensemble further includes Paul Luebke as Bobby, Saoud Al Kaabi as Mubarak, Ahmed Abdullah as Saeed, and Malik McCall as Sammy.

Ghaleb El Saadi appears as Hashim, with Marwan Al Kaabi as Young Father, Abeer Mere as Young Mother, and many more filling out the extensive cast list. Behind the scenes, the production benefited from a collaborative effort.

Tim Smythe served as the producer, alongside co-producers Tim Andrew, Robert Crippen, and Jaye Gazeley, with Daniela Tully also contributing as a producer.

BC Smith provided the haunting music that underscored the film’s atmosphere, while Joel Ransom captured the visuals as the cinematographer.

The editing was handled by Andrew Cohen, while Brentan Harron took charge of the production design and Tyler Bishop Harron supervised the art direction.

Costume design was led by Angela Schnoeke-Paasch, and makeup and hair design were overseen by Zera Azmi.

The production management was helmed by Maxine De Vere as the production supervisor, Andrew Dearnley as the post-production manager, and Katerina Silna as the production manager.

The assistant directing team included Khalid Al-Mahmood, Jimmy Alfred, Vince Coates, and George Max Trummler, with Lauro David Chartrand-Del Valle contributing as the second unit director.

Various departments worked tirelessly to bring the film to life. The sound department, led by Mike Grimes as the supervising sound editor, ensured the auditory experience matched the film’s eerie visuals.

The visual effects team, under the supervision of Richard Briscoe, created the otherworldly elements essential to the story’s supernatural themes.

Stunt coordination, handled by Lauro David Chartrand-Del Valle, added thrilling action sequences to the mix.

The camera and electrical department, casting department, costume and wardrobe department, as well as the editorial and transportation departments, all played crucial roles in the film’s production.

Additional crew members contributed to various aspects of the filmmaking process, from catering and set design to marketing and communication.

With meticulous attention to detail from both cast and crew, “Djinn” offers a chilling exploration of supernatural folklore against the backdrop of the United Arab Emirates.

Returning to their homeland from New York, they seek solace amidst family and familiar surroundings. However, their move to a luxurious high-rise apartment complex unveils unsettling truths lurking beneath the surface.

Haunted by the sudden loss of their infant to Sudden Infant Death Syndrome (SIDS), Salama is torn between personal grief and societal expectations.

Encouraged by a counselor’s ambiguous advice, she sacrifices her aspirations to support Khalid’s career aspirations, embarking on a journey fraught with eerie discoveries and chilling revelations.

As they settle into their new abode, nestled upon the ruins of a ghostly fishing village, peculiar occurrences unsettle the couple.

From mysterious neighbors with enigmatic agendas to inexplicable hallucinations plaguing Salama, a sense of foreboding permeates their surroundings.

The specter of the djinn, mythical beings of fire and trickery, looms large, intertwining with the fabric of their reality.

Director Tobe Hooper masterfully crafts a narrative that juxtaposes the couple’s personal turmoil with the supernatural forces at play.

Through evocative cinematography and atmospheric visuals, the film captures the isolation and unease engulfing Salama and Khalid. Each frame is imbued with tension, as the line between reality and fantasy blurs in the face of ancient malevolence.

Drawing inspiration from a myriad of horror classics, from Polanski’s psychological thrillers to Kubrick’s iconic “The Shining,” the film pays homage while carving its own distinct path.

However, the reliance on CGI occasionally detracts from the immersive experience, exposing seams in an otherwise meticulously constructed world. At its core, “Djinn” grapples with themes of identity, tradition, and societal expectations.

Salama’s defiance against prescribed roles and her struggle for autonomy resonate deeply, echoing similar narratives of empowerment and resistance.

In a region where conformity often reigns supreme, her journey serves as a poignant commentary on the complexities of womanhood and agency. Yet, amidst the supernatural terror, lies a subtle critique of societal hierarchies and power dynamics.

The specter of authoritarianism looms large, as characters navigate a landscape fraught with fear and repression. Through allegory and symbolism, the film exposes the fragility of individual freedom in the face of entrenched oppression.

As the narrative unfolds, Salama emerges as a symbol of resilience and defiance, challenging the status quo with unwavering resolve.

Her journey mirrors a larger struggle for liberation and self-determination, resonating with audiences beyond the confines of genre conventions.

In its nuanced portrayal of Emirati society, “Djinn” offers a rare glimpse into the complexities of identity and belonging.

While anchored in the supernatural, its thematic depth transcends genre boundaries, inviting reflection on the enduring human quest for meaning and agency in a world fraught with uncertainty.