There are certain expectations when entering most cryptid horror features. They often begin with a recklessly curious (or maybe simply hapless) character venturing into the territory of a legendary creature, and they soon find more than they bargained for. Admittedly, Kourtney Roy‘s Kryptic has somewhat of a similar setup: the protagonist encounters an unconfirmed beast whose sightings are endemic to the British Columbian forests. Yet upon that fateful moment, Kryptic loses all semblance of past cryptid films as well as forges its own twisty, not to mention goopy path.
Within minutes, photographer-turned-filmmaker Kourtney Roy establishes her directorial debut is not just about a monster. The Sooka, a unique amalgam of other known cryptids, never disappears from the story’s rearview mirror, however, Kryptic is entirely different from its initial pitch. Kay Hall (Chloe Pirrie) goes in search of a missing cryptid hunter, Barb Valentine, and then learns of her own surprising connection to this person. The ultimate outcome is, in a word, bizarre.
After straying from her women’s walking group in the forest and briefly meeting the Sooka — this and future scenes are replete with goo and lurid imagery — the main character returns with a markedly different demeanor. The gradual reveal that Kay is no longer herself is cleverly done; she doesn’t recognize her own name, know how to get back to her house, or even remember she’s a veterinarian. Audiences can safely assume the Sooka is responsible for Kay’s behavior, but the origin of her sudden amnesia and personality change goes far deeper.
Kryptic goes to unexpected places, and the journey is riveting. Once Kay sets off for the ominous forest again in search of answers for her dilemma, one having to do with Barb Valentine, the story introduces a lineup of oddballs who each add missing pieces to the puzzle. From a tipsy hotelier to another of the Sooka’s suspicious attestants, Kay’s quest only raises more questions. The lack of concrete explanations can be aggravating to some, yet the enticing ambiguity of Paul Bromley‘s script allows for a more immersive experience. It keeps everyone on their toes while also never quite convincing them that the rug will stay firmly in place.
Kryptic is enhanced by Roy’s history as a photographer and DP David Bird‘s scenic cinematography. The director, who partly grew up in the BC wilderness, is well adept at bringing out the haunting beauty of the story’s hinterland backdrop. Roy’s background in colors also plays nicely with Bird’s panoramic and picturesque shots. The contrast between unspoiled nature and the unnatural grotesque is never as jarring as anticipated. The film is terrific at blending the story’s disparate worlds together, which adds to the protagonist’s own emotional squalor and self-examination.
This confrontational, psycho-horror film is more questions than answers. Its flagrant strive for perplexity and weirdness won’t appeal to everyone, and not every element ties perfectly into the next, however, Kryptic is a fascinating story from start to finish. The logic here is as unreliable as it is unimportant, so the best approach to the film is to treat it as an experience, rather than something needing to be understood and solved.
Kryptic premiered at South by Southwest 2024.
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