I did not know what to expect when I added Kryptic to my watch list, but I was not prepared for the journey this film took me on. This debut feature from director Kourtney Roy is a breathtaking journey into the world of cryptozoology that defies easy categorization and is not for the faint of heart. Screening at this year’s Fantasia Festival, the film follows Kay Hall (Chloe Pirrie) as she embarks on a quest to find a missing monster hunter, only to discover an unexpected connection to the very creature being hunted and her own place in the world.
From the first few minutes of the movie, Kryptic sets a tone that is anything but what you would find in a conventional monster movie. Roy’s direction blends elements of psychological thriller, body horror, and surrealism to create a viewing experience that’s equally fascinating and disorienting. The film’s pacing is deliberately slow, allowing tension to build as Kay’s search leads her deeper into a world where reality and fantasy blur.
Chloe Pirrie delivers a mesmerizing performance as Kay, conveying a wide range of emotions, often through subtle facial expressions alone. Her portrayal of a woman grappling with amnesia and an inexplicable bond to an unknown entity is both vulnerable and confusing. The supporting cast, including Jeff Gladstone and Jason Deline, adds depth to the strange world Kay finds herself navigating and fleshes out the world of the film in truly bizarre ways.
Kryptic has a lot going for it, with a style and concept that sets it apart from many of the typical monster genres we know well. While few films tackle this kind of story, and certainly not in this way, there are many aspects that made me think of the 2013 sci-fi horror film starring Scarlet Johanson, Under the Skin. Both deal with complex themes and use their main characters as a metaphor for sexuality and finding oneself, but even so, Kryptic manages to bring some unique concepts to the table that help it stand out.
“Kryptic has a lot going for it, with a style and concept that sets it apart from many of the typical monster genres we know well.”
Even though it shares similarities with other works, Kryptic manages to find a voice of its own thanks to its visual style. Roy’s background in photography shines through in the film’s striking imagery. From the lush, misty forests of British Columbia to surreal, neon-lit interiors, each frame is meticulously composed. The creature design, when finally revealed, is both horrific and oddly beautiful, leaving a lasting impression.
The film’s sound design and score deserve special mention, contributing to a tone that is both deeply depressing and beautiful. The ambient soundscapes and eerie music contribute greatly to the overall atmosphere, enhancing the sense of unease and otherworldliness that pervades the story. Some of the scenes use the soundtrack as the main source, with the dialogue taking a back seat to the scene of place and feeling the music conveys.
“Kryptic doesn’t shy away from visceral, gooey effects that are both repulsive and strangely mesmerizing, adding to the film’s unique charm.”
As unconventional as it is, Kryptic’s narrative takes some unexpected turns and veers into territory that may leave some viewers scratching their heads or downright upset. The middle section of the film, which takes on the quality of a road trip, feels somewhat meandering and, to put it bluntly, takes away from some of the film’s stronger aspects. The film’s abstract nature and refusal to provide clear answers may frustrate those looking for a more traditional monster hunt story, with many of the main beats feeling more like allegory than clear narrative. I can’t help but think the ambiguity is likely intentional, prodding viewers to draw their own conclusions.
Even if the narrative is a little unconventional, Kryptic doesn’t shy away from visceral, gooey effects that are both repulsive and strangely mesmerizing, adding to the film’s unique charm. While effective in their shock value, these moments occasionally threaten to overshadow the more nuanced aspects of the story. Even if it can be difficult to watch at times, Kryptic manages to straddle the line between horror and art film in a way that I have a feeling film studies classes will want to delve into what makes the film tick: gore, deep themes and all.
Despite its flaws, Kryptic remains a bold and unique entry in the cryptid subgenre. Roy’s willingness to take risks and subvert expectations is commendable, even if not all of these creative choices work as well as I had hoped. The film’s dreamlike quality and refusal to adhere to conventional narrative structures make it a memorable, if sometimes frustrating, experience that will either be loved or hated by horror and genre fans willing to take a risk.
Kryptic is not a film for everyone. Its slow pacing, abstract narrative and graphic imagery may alienate some viewers. Those willing to embrace its strangeness will find a thought-provoking and visually stunning exploration of the monstrous, both within and without. For fans of surrealist horror and those looking for something truly different in the monster movie genre, Kryptic offers a bizarre and unforgettable journey into the unknown.
