Tracey Moffatt’s triptych horror movie, Bedevil, opens with a story about a swamp haunted by the ghost of an American GI, who – legend has it – drove in one day and never emerged. The celebrated Indigenous artist brings this setting to life with a trick plucked from the expressionist playbook: using intentionally artificial sets to create jarring, surreal environments. Like the rest of the film, the effect is intoxicating.
The reeds, logs and water look authentic but behind the swamp the background glows with a bright synthetic green. It’s ghostly: partly real and partly not. A feeling that the air is thick and vaporous, twisted in all sorts of terrible ways, permeates each of the film’s three chapters, which are tonally similar but narratively connected only through the inclusion of supernatural elements.
