Ever since The Exorcist became a blockbuster success, the concept of possession has been one of the most used in the horror genre, whether having a whole plot built around it, or adding it late to the game. As is the case with many subgenres exploding in popularity, possessions and exorcisms are no longer as exciting as they once were.
When Shaman came along, I was intrigued by the way it seemed set to break the possession formula. Focused on a family of missionaries working with a remote, Indigenous Ecuadorian community, the movie sees them questioning their faith when their son seemingly becomes possessed by a dark entity with roots in a nearby volcanic cave.
Directed by Antonio Negret in his first feature project since Ana de Armas’ Overdrive, and penned by his brother Daniel in his feature-length debut, I can’t deny Shaman has a lot of tension. But even as it utilizes a different culture to tweak the exorcism formula, it doesn’t go far enough.
Shaman Is Right On The Verge Of The Wrong Kind Of Fear Of The Unknown
With the majority of the possession and exorcism subgenre focusing on Satanic forces, they often find themselves looping back around to the same demons and ceremonies to clear them out. While Shaman‘s focus on a family of missionaries raised concerns about repeating the past, its Ecuadorian setting gave me hope it would change for the better.
To the movie’s credit, it does have inklings of breaking free from the formula’s restraint. Sara Canning’s Candice and Daniel Gillies’ Joel are well-rounded characters, and the exploration of the breakdown in their faith is nicely plotted, particularly as more signs of darkness creep into their home.
…once the entity properly takes root in Jett Klyne’s Elliot, this is not only where Shaman starts to feel far too predictable, but also right on the verge of using the wrong kind of fear of the unknown.
Much like The Exorcist did 50 years ago, Shaman does a great job of presenting discussions between the family’s Christian/Catholic beliefs and the Indigenous culture they’re interacting with. Before we arrive at the expected “The power of Christ compels you” shouting and demonic taunting from the possessed, we’re actually offered curious insight from the titular character as to the entity’s nature.
However, once the entity properly takes root in Jett Klyne’s Elliot, Shaman becomes too predictable, and is on the verge of employing the wrong kind of fear of the unknown. Too many movies and shows find themselves using “exotic” locations and their native populations as the point of terror, often feeding into American xenophobia of the outside world.
Shaman pulls back just enough; its Indigenous characters feel like genuine people rather than harbingers of doom for its white leads. They don’t have enough screentime, though, nor is there an explanation of the dark entity in the film, making it too broad in its cultural targets.
Negret’s Direction Is Visually Absorbing & Moody
With only a handful of films to his name, Antonio Negret has an interesting filmography largely focused on the crime and thriller genres. This makes his work on Shaman all the more impressive. Shifting from the faster pace of the Jim Caviezel-led Transit and Overdrive to a darker, ominous sphere is certainly not an easy task for any director.
And yet, from the first moment Elliot steps foot into the volcanic cave to the closing credits, Negret shows a remarkable grip on tension and atmosphere. The exorcism scenes play with familiar elements in shocking ways, while the dark corners of the region the story is set in are effectively used for some solid jump scares.
But where Negret’s direction really shines is in Shaman‘s use of CGI for many of its nightmarish elements, particularly Elliot’s possessed appearance and Candice’s visions. Between swarms of scorpions crawling through scenes to the possessed having black fluid coming out of their orifices, Negret really makes it feel like a natural haunting.
Sara Canning’s Performance Keeps Us Grounded Enough
Unfortunately, Shaman‘s cast isn’t all that compelling. WandaVision alum Jett Klyne certainly leans into the malevolence of Elliot’s possessed state. He shows a remarkable physicality, but he also doesn’t make his pre-possessed nature feel different enough to sympathize with him.
Vampire Diaries and Originals vet Daniel Gillies also has a hard time making his former drug addict-turned-missionary feel like a convert. We’re just waiting for the ball to drop and for his past to catch up and turn him similarly malevolent. Even Joel’s attempts to course-correct and believe in the local lore about Elliot’s possession don’t resonate well enough.
The one standout of Shaman‘s cast is also one of our leads — Vampire Diaries alum Sara Canning. As the stakes rise alongside the body count, Canning nicely captures Candice’s struggle between her enduring faith and doing anything to protect her son, giving us just enough of an emotional center to overcome the film’s familiarity.
Shaman hits theaters and digital platforms on August 8.
Shaman
5/10
- Release Date
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July 16, 2025
- Director
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Antonio Negret
- Writers
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Daniel Negret
- Producers
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María de Los Ángeles Palacios
- Antonio Negret’s direction is palpably tense and moody.
- Sara Canning is a wonderful emotional anchor for the story.
- There is some unforgettably haunting imagery.
- The story fails to take effective advantage of its setting.
- It plays too closely to the possession and exorcism subgenre.
- Much of the cast fail to compel.