Dagr (2024) - [Movie Review]

Image via IMDB

We live in a world where the found footage genre of horror films seems to be in a constant state of drowning but never quite able to sink all the way for very long. Just when you think it’s all been downhill since the original Blair Witch Project, you’ll have something fresh and unnerving rise above the murk. For every attempt at cashing in on the genre, there comes one or two films that try not only to elevate the form but to completely ignore what came before it and try to exist as its own thing. Director Matthew Butler-Hart’s latest film Dagr, co-written with his wife Tori, goes a long way to that end with clever and effective results.

The premise is simple; Thea and Louise are two influencers (Riz Mortiz and Ellie Duckles) with an internet channel called “They Deserve It” where they infiltrate privileged events and sabotage, steal, and redistribute wealth to the less fortunate. (And in some cases, just for the hell of it.) They are cheeky, bold, and most importantly, likable.

After setting up our leads, we find that the next episode of “They Deserve It” about to be filmed is a fashion shoot at a remote Welsh manor where Thea and Louise will be pretending to be caterers. They plan to plant cameras and film their latest heist where they will take the loot (wardrobe, any jewelry) and donate the goods to charity.

At the same time, there is a small crew of five filming segments of the fashion shoot, and wondering why the caterers are so late.

So far, this story sounds rather typical for the coming mayhem. There is even the almost mandatory scene of foreshadowing of the ladies stopping at a gift shop and collecting a creepy mask. I’ll go on record by saying that I literally rolled my eyes at this until I forgot about it moments afterward.

The buildup of cutting back and forth between the fashion shoot and the influencers is quite good. It takes a cue from earlier found footage films where the actors improvise large passages of dialogue. The difference here, however, is the actors—particularly the two leads. They are both superb at interesting and fun banter. They present a vibe of genuinely liking one another. The interactions are honest, funny, and there is a sense of familiarity missing in the bulk of found footage films. (I’m looking at you, Grave Encounters 2.)

Where to watch Dagr:

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As Thea and Louise arrive at the mansion, there is a sense of anticipation of confrontation between them and the crew. The pair begin to set up the cameras and wonder aloud about the crew who are nowhere to be found. As they find what they’re going to take and begin to set up cameras, they see the gear from the shoot and begin to watch. Incidentally and perhaps fabulously, Dagr was filmed entirely on iPhones to considerable success. Once Thea and Louise start looking at the footage, the film goes from good to great. In one scene, they see an exterior shot with a sound and visual glitch—a low chanting and a mysterious figure. It’s sufficiently creepy enough to warrant another look, but when they back the footage up, they see…nothing.

Of course.

Where Dagr separates itself from other found footage films is its patience. Dagr (Welsh for ‘dagger’) moves quickly at a brisk 70ish minutes but still manages to take its time, so you are fully ready (or rather, not fully ready) for what comes as the film pushes itself forward to its inevitable conclusion.

After viewing the glitchy footage, Dagr stomps on the gas pedal and ramps up the chills in a variety of ways, from the subtle (a “blink and you’ll miss it” blood stain on a carpet) to jump scares (footage of someone being thrown into a wall from seemingly nowhere) to one of the quickest and most effective backstory reveals ever to be portrayed on a small screen TV in the guise of an old VHS tape.

Dagr succeeds in creating a fun, often funny, and seriously creepy found footage film. The technology exists for a film like this to be created with cell phones, but good, smart folk horror only gets made by people who understand folk. If the character dynamic in this film didn’t exist, it simply wouldn’t work regardless of blood, jump scares, or any sense of dread. (I’m still looking at you, Grave Encounters 2.)

It’s difficult not to cringe about found footage films, but the husband-and-wife team of Matthew and Tori Butler-Hart, Dagr is a fresh stab in the right direction.

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Article by Nelson W Pyles

Nelson W. Pyles is an author, musician, podcast creator and voice actor living in Pittsburgh. He has written two novels and is currently working on his third. His second collection of short stories, essays and articles All These Steps Lead Down was released in October 2024 from Cold War Radio Press. He is a member of the HWA. You can find Nelson at https://whatnelsonwrites.com.

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