‘Moshari’ (2022) Review: Nocturnal Creatures Haunt Two Sisters
Nuhash Humayun’s Moshari (mosquito net in Bengali) follows two sisters living in a dystopian Bangladesh. The West has not survived and there are only a few people left in the world. It’s a short film that opens with a dark shot of flies buzzing near an animal carcass. The world of Mosahri is near extinction with loudspeakers declaring that religion will no longer offer salvation to the people remaining on the planet. The country is overrun with creatures that hide beneath the shadows searching for the weak and vulnerable people who are trying to survive in this post-apocalyptic world. A 22-minute movie that blends horror, magnificent colours, and dark metaphors to a fresh perspective of these blood-sucking creatures.
Apu (Sunerah Binte Kamal) and Arya (Nairah Onora Saif) are two sisters who are trying to survive the night. The loudspeakers in the village call for everyone to seek shelter inside a mosahri (mosquito net). Before darkness descends, the older sister, Apu, builds a mosquito net around their bed and makes sure that all of the entry points are sealed. With no holes in the mosquito net and locked doors, Apu is desperate to protect her little sister. But in the middle of the night, Arya finds a small tear in the net and a hellish creature that stalks them, and their night slowly descends into madness.
Moshari is shot with beautiful colours and stunning visuals which capture the dark narrative and creepy creatures. With its deeply personal and cultural identity, Humayan blends family, love, and survival into the story. The director attempts to break the myth that surrounds Bangladesh in the Western world by blending horror and mystery. The story itself is a powerful metaphor that shows the mosquitos and the creatures are Western colonial powers that exploited the South Asian countries for decades.
In addition to Humayan providing a powerful metaphor in the narrative, it is also a story about sisterhood. Both of the sisters have very different personalities which clash throughout the short film. Apu needs her family to survive through the night by depending on a thin mosquito net. On the other hand, Arya wants affection. The purpose of their relationship is to survive and keep each other safe. Even when they disagree or refuse to listen to each other, survival is their only hope. It’s a complex and heartfelt story that adds a layer of family and loneliness, especially knowing that their parents are nowhere to be seen. Perhaps if Humayan ends up directing a feature-length movie, the relationship between the sisters and the reason why their parents are absent might be worth exploring.
Moshari is a short horror film that blends different genres and impactful jump scares. With dimly lit scenes and the use of shadows, it accentuates the horror element, such as the creature lurking beneath the shadows in the night. The film’s score adds another layer to the creepiness level and amplifies the scenes by building dreadful moments. Humayan’s Moshari is a well-crafted horror movie that centres on the relationship between Apu and Arya. It shows that love will survive the deepest and darkest moments during nightmarish events.
