Within the horror genre, found-footage movies tend to get a bad rap. This reputation often stems from how cheaply they’re made and their frequently lackluster presentation and execution. However, Koji Shiraishi’s “Noroi: The Curse” shows that a film in this medium can be not only compelling and well-made, but also genuinely terrifying.
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Told through a pseudo-documentary format, the film centers on paranormal researcher Masafumi Kobayashi, who mysteriously disappeared after completing his latest documentary “Noroi.” Not only that, his house burned down, and his wife was found dead in the ruins. The footage shows him investigating a series of seemingly separate incidents. However, the deeper he looks into these strange occurrences, the more disturbing connections are uncovered, each linked to unsettling folklore surrounding an ancient demon named Kagutaba.
Each incident on its own is surreal enough to pique interest. Kana Yano is a young girl who appears to possess psychic abilities. Neighbors hear muffled baby cries coming from Junko Ishii’s home. After appearing on a ghost-sighting show, Marika Matsumoto becomes the target of a haunting. An eccentric man named Mitsuo Hori wraps himself in tinfoil and rambles about pigeons and what he describes as “ectoplasmic worms.”
Part of the brilliance comes from how Koji Shiraishi and Naoyuki Yokota establish a compelling mystery around these strange events and disturbing folklore. It becomes clear that the presence of the supernatural is undeniable, but the question remains: why is all of this happening? We become drawn to Kobayashi’s attempts to understand this lore and the history surrounding it, even if doing so comes at the expense of sanity and safety.
By moving at a deliberately slow pace, Shiraishi uses atmosphere to keep viewers constantly on edge, creating the uneasy feeling that we are watching footage we were never meant to see. When the demon Kagutaba finally reveals itself in its various manifestations, alongside other supernatural entities, the payoff is genuinely chilling. Like the characters, we are confronted with images that are difficult to process, intensifying the sense of vulnerability and making the anticipation of what might happen next all the more unsettling.
As the central paranormal researcher, Kobayashi is a compelling lead devoted to uncovering the truth behind these supernatural occurrences, and Jin Muraki‘s grounded performance makes the investigation feel all the more authentic. Given Hori’s frantic personality, Satoru Jitsunashi plays up his eccentricity to entertaining yet equally unnerving heights. Pulled into a bizarre mystery, Marika Matsumoto is convincing in her vulnerability while portraying a fictionalized version of herself. Kana possesses incredible power, but Rio Kanno‘s stoic demeanor conveys unease and tragedy, given that this is happening to an innocent child. In sharp contrast, Tomono Kuga brings a disturbing intensity to Ishii, the mysterious, unhinged woman tied to the case.
Rather than feeling like a cheap filmmaking gimmick, the found-footage presentation, shot by Shozo Morishita, makes the events feel not only real but even creepier to watch. Considering the film’s low budget, the special effects are impressive, with an effective mixture of practical makeup and CGI. The graininess of the footage further enhances the unsettling realism. Kagutaba’s design is simple yet eerie, with a human-like facial structure but distorted features and hollow eyes. Masayuki Himuro’s score could easily have been a hindrance, but it’s used sparingly and does its job well in creating an uncomfortable atmosphere.
“Noroi: The Curse” is a masterclass in horror. As a found-footage film, Shiraishi crafts a compelling story while taking full advantage of its visual and audio elements to build dread and create an immersive, frightening experience.
