'The Reflected Self' Review: A Perplexing Horror Thriller With An Abundance Of Plot Twists

One of the most interesting tropes in the horror and thriller genres is the use of a cabin in the woods as the primary setting for the story, but it’s tough to tell which movie started this trend. The earliest example that I have is a Norwegian film from 1958 called Lake of the Dead. The house in Night of the Living Dead technically isn’t a cabin, but I think it qualifies. And then there are the certified classics like The Texas Chainsaw Massacre, Friday the 13th, and Evil Dead that are responsible for popularizing this gimmick. Over the years, a lot of films have used the cliche simply as a throwback, but The Cabin in the Woods, Baghead, In A Violent Nature, and The Blackening have looked at it through a very meta lens. Meanwhile, movies like Evil Dead (the remake) and Knock at the Cabin have turned the trope into a commentary on trauma, humanity, and more. The Reflected Self has joined this illustrious list of horror-thrillers with its sackload of plot twists.

Kelvin Richards’ The Reflected Self tells the story of siblings Dion and Nia as they return to their parents’ house after said parents allegedly died in a house fire. It’s apparent that Dion and Nia had grown apart for reasons known only to them. But after this traumatic incident, they have decided to reforge their bond and make up for all the time they’ve spent away from each other. The only issue is that Dion doesn’t exactly want to have a proper conversation with Nia because he has been affected way too much by the death of his mother and father. Nia tries her best to bring Dion out of his shell; however, visions of a woman keep haunting him and prevent him from speaking his heart out. When Dion seemingly musters up the courage to have an honest conversation with Nia about his feelings, so that she can open up as well, he is awakened from his slumber by that mysterious woman, Aria. She gives Dion the shock of his life by revealing that everything that he has been experiencing so far was an illusion to help him with his depression. That prompts Dion to question what’s real and what’s a result of his deepest, darkest desires.

Kelvin Richards keeps things so ambiguous even after the end of The Reflected Self that Christopher Nolan is going to set Cobb’s totem spinning and salute him. I think he’ll also bond with Richards due to the latter’s portrayal of a toxic, manipulative, and fractured relationship between a husband and wife. Sure, this film’s scale and scope aren’t as massive as that of Inception, but all its twists and turns will surely compel you to question your understanding of what’s actually happening in Dion’s life and what’s a manifestation of his complicated feelings. By the way, if you’re wondering if these curveballs serve a purpose other than being shocking, well, yes, they do. Dion’s deteriorating state of mind shows the devastating nature of grief while also underscoring the importance of letting go of the past in a timely fashion, or else the damage that it’ll do will be irreparable. In addition to that, I think Richards’ story puts a good spin on the tried-and-tested “cabin in the woods” concept by treating it like an amplifier for the characters’ pain and suffering. And while films like Evil Dead opt for some cathartic and bloody healing by the time the credits roll, Richards goes for something that’s far more sad and realistic.

Richards and his team create an oppressive and claustrophobic atmosphere to accentuate the journey that Dion and those around him are on while heightening the isolation that comes with the cabin in the woods in The Reflected Self. As a fan of the works of Sam Raimi, Tobe Hooper, and George A. Romero, did I see a cabin in the woods and start yearning for some cheap special effects, wacky camerawork, unmotivated lighting, and hyperactive editing? Sure, yes. But would that have helped or hampered the story that Richards is trying to tell? To be really honest, Richards’ decision to keep things moody reflects Dion’s foggy and convoluted state of mind. And given how important it is to constantly keep the audience in Dion’s shoes, I think that Richards’ low-key approach to the visual storytelling works really well. This is one of those rare instances where swinging for the fences would’ve (probably) ruined the film. If it’s not clear already, let me underscore the fact that, despite having ghosts and apparitions, this isn’t that kind of a horror movie. Richards opts for existential dread instead of jumpscares. So, calibrate your expectations accordingly before walking into this particular cabin in the woods.

The Reflected Self largely relies on Barney Jones, who does an excellent job of selling the confusion and pain that Dion is experiencing. He perfectly shows how sometimes healing can be like quicksand: the more you struggle, the worse it gets. I don’t know how much I can talk about the supporting actors, Marielle Clare and Daisie Boyes, without spoiling the film. I’ll compliment Daisie for making the task of playing such an ambiguous character look like a walk in the park. As for Marielle, I’ll say that by the time the credits rolled, I wasn’t sure if I should empathize with her character or hate her. And since that’s certainly one out of the many emotions that Aria is supposed to evoke, I have to laud her. At the cost of sounding repetitive, yes, Kelvin Richards’ horror thriller is a perplexing feature film. It demands your attention while constantly trying to throw you off the scent. It aims to scare you, but in the most nontraditional ways possible. On top of all that, it’ll leave you with more questions than answers. Yet, I feel that it’s one of the most interesting “cabin in the woods” movies out there, as it subverts almost all the expectations that the genre has become synonymous with. It’s not everyone’s cup of tea, but it’s definitely worth a watch.