Whistle: A Fresh Take on Cursed Artefact Horror

Ben Thompson, Culture Editor
5 Min Read
⏱️ 4 min read

Dafne Keen stars in *Whistle*, a new horror film that artfully intertwines supernatural thrills with a poignant exploration of adolescence. Set against the backdrop of a North American steeltown, this Irish-Canadian production brings a unique flavour to the genre, moving beyond the typical tropes of horror to deliver a story that resonates with its audience on multiple levels.

A Gripping Premise

At first glance, *Whistle* may appear as if it rides the coattails of recent success stories in the horror genre, particularly the Philippou brothers’ *Talk to Me*. However, writers Owen Egerton and director Corin Hardy have crafted a narrative that feels distinctly fresh. The film opens with the tragic fate of a star basketball player, whose locker becomes the focal point of the story. Here, we meet Chrys, played by the talented Dafne Keen, who discovers a skull-shaped Aztec whistle that bears an ominous inscription hinting at its dark powers.

Instead of immediately succumbing to horror clichés, the film takes its time to establish Chrys as a relatable character. The whistle’s curse gradually unfolds, revealing a chilling reality where the boundaries between life and death blur. The tension builds slowly, offering viewers a haunting look at adolescence paired with the ever-looming spectre of mortality.

Blending Horror with Heart

What sets *Whistle* apart from its predecessors is its commitment to character development. Hardy infuses the narrative with empathy for its troubled teen characters, steering away from the usual archetypes. Chrys’s journey is not just about survival; it’s also about self-discovery and acceptance, particularly in her attempts to come out to classmate Ellie, portrayed by Sophie Nélisse.

As the story progresses, the horror intensifies, echoing the grim fate of characters reminiscent of *Final Destination*. The film skillfully juxtaposes moments of high-stakes dread with quieter, more intimate scenes that delve into the emotional turmoil of adolescence. The result is a film that captures both the fear of the unknown and the complexities of young love.

A Director’s Flourish

Corin Hardy, known for his earlier works, brings a vibrant energy to *Whistle* that was somewhat lacking in previous projects like *The Nun*. Here, he embraces creativity, injecting the film with clever nods to horror history—such as naming characters after iconic directors. One particularly memorable sequence features a surreal straw maze, pushing the boundaries of a small-town harvest festival into the realm of the bizarre.

Despite a few narrative threads that feel loose—such as the subplot involving a preacher with a questionable side hustle—*Whistle* manages to remain engaging without falling into the trap of being derivative. It’s a balance that Hardy strikes well, leaving audiences with a sense of familiarity while also delivering surprises that keep them on their toes.

A Night at the Movies

With its blend of heartfelt storytelling and spine-tingling horror, *Whistle* is sure to appeal to those looking for an entertaining evening out. The film has already premiered in the US and is set to hit Australian theatres on 12 February, followed by a UK release on 13 February. It promises to be a perfect option for a Friday or Saturday night, capturing the essence of youthful anxiety and the fear of what lies beyond.

Why it Matters

*Whistle* stands as a testament to the evolving landscape of horror, where films can be both thrilling and deeply resonant. By infusing the genre with genuine emotion and relatable themes, Hardy and Egerton have created a work that not only entertains but also prompts viewers to reflect on their own lives and relationships. In a world where the horrors of adolescence can often feel overwhelming, *Whistle* offers a unique lens through which to explore these fears, making it more than just a film, but a conversation starter about the challenges faced by young people today.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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