The horror genre is more important than romantic comedies in terms of educating the public. Do not go down into the cellar. Keep out of the forest. Avoid remote cabins. For the sake of whatever deity you worship, do not even consider going underground in the Parisian tunnels. There’s no reason to go underground, but both Catacombs (2007 and as Above so Below 2014) make it clear that going into the catacombs of Paris is not a good idea. Deep Fear was set in 1980s because these people never got to see those films.
The three friends celebrate their graduation in the last days before their departure. Their quest to have an amazing send-off lands them at an unexpected place. Sonia, Henry and Max are close friends. But Ramy ( Joseph Olivennes), an acquaintance of theirs ( Sofia Lesaffre), suggests that they go spelunking in the underground catacombs. The foursome initially enjoys claustrophobic and fun games, but they soon realize that they are not alone.
The director Gregory Beghin follows up his 2020 comedy ( Losers Revolution ) with an excellent horror/thriller. Its script is only marginally flawed. Although the story is a bit stale, it still manages to deliver tension and excitement in dimly-lit tunnels. The film is a fast eighty minutes of solid performances, thrilling gore, and smartly-paced tension. It’s only spoiled by the dream sequence, which feels like filler, and a sloppy ending.
Deep Fear begins with the skinheads eyeing Sonia at a bar, and then committing crimes in her dream. This real-life danger is carried by the youths into the dark tunnels beneath the city. This is a real threat, which works to increase the fear in the tunnels. The majority of the tunnels can be walked through, but our heroes are often forced to crawl into openings with no space for turning. Beghin, along with cinematographer Yvan Yvan Coene are able to magnify and capture the tension.
The ultimate threat, of course is far more dangerous than claustrophobia or street punks. The script of Nicolas Tackian avoids boring the audience with too many details. The story is well-told, with plenty of context to help the viewer understand it. As soon as the monstrous menace is revealed, it turns into a nightmare of tension and violence for everyone involved.
Beghin casts Deep Fear well-trained actors who are able to convey fear and emotion without overwhelming the audience. Although the short run time makes it difficult to get to know the characters in depth, the performances and the pages are enough to appreciate and understand their hopes for the future. The future now seems so far away. Lesaffre in particular engages the viewer and captures their attention.
The script’s stumbles are enough to bring it down. The dream sequences are usually a waste (movies about dreams excluded, of course), but this one feels as if Beghin felt he wanted to add another scene for some extra intensity. The sequence is not woven into the plot, but rather feels like it’s superfluous. It’s a misfire of a different sort as the ending delivers an uplifting beat, only to be followed by a garbage scene that will deflate viewers.
Deep Fear isn’t groundbreaking, but it delivers enough excitement to fill its brief running time. The film’s pacing, momentum and creepiness increase once the horrors begin. Keep out of sewers and stop watching just before the end credits.