We’re Not Safe Here Review: Claustrophobic, Atmospheric Chiller

I love a horror film that truly gets under my skin and frightens me. Writer/director Solomon Gray’s feature film directorial debut, We’re Not Safe Here, did exactly that for me. It’s not flashy or fast-paced, but this grounded tale of unhinged mayhem grabbed me by the throat and didn’t let go until the chilling final frame. Compelling acting, assured direction, an eerie score, and voyeuristic camerawork help make this indie effort an unnerving viewing experience sure to leave you rattled. With that said, the pace is plenty deliberate, and the film does precious little to explain the intricacies of the central evil at play. So, it’s likely to prove divisive. While it may not be everyone’s cup of tea, I am pleased to say that I had a great time with this one. 

We’re Not Safe Here primarily features just two core characters, schoolteachers Neeta (Sharmita Bhattacharya) and Rachel (Hayley McFarland). Each lead turns in a strong performance that goes a long way toward carrying this deliberately paced picture. As we watch the narrative unfold, we learn that Rachel has been absent from school lately, giving her colleagues cause for concern. When she reaches out to Neeta, looking to share what’s been troubling her, Neeta opens her home to Rachel, listening as the woman describes a tormented existence stemming from a harrowing childhood encounter involving an abandoned home with a malevolent history. 

Rather than showing us Rachel’s story through flashbacks, Gray opts to tell the tale with the camera fixated on Rachel’s face as she recounts the ordeal. As she recalls the horrors she previously endured, Rachel is frozen in a perpetual look of terror. It’s an unorthodox approach that works to remarkable effect here. Actor McFarland plays Rachel as convincingly frightened, haunted by her past, and perpetually skittish. We witness as Rachel hears noises that Neeta cannot make out. With each whisper or fleeting glimpse of something sinister, she becomes more and more terrified. Gradually, she pulls Neeta into her nightmare. Before long, both are completely consumed by a largely unseen, yet decidedly sinister force. 

The reliance on spoken word to tell the story works well, thanks in large part to descriptive dialogue that is likely to make the viewer feel like they are a part of the story. Matters become immersive, much like an urban legend told around a campfire. The way that Rachel describes the shocking series of events leading up to her arrival at Neeta’s home effectively fills in the blanks, and Rachel’s utterly terrified mannerisms ensure that the threat starts to feel just as palpable as it might have in flashback. In fact, with the camera focusing solely on her terrified features, this might actually be an even more effective choice.

What really hooked me is the way that Gray gives so little away. That, along with the deliberate pace, may alienate some viewers. However, I loved every minute of it. I’m a firm believer that less is more. So, getting next to no exposition about the central threat only served to intrigue me further. The more detail we get surrounding the evil at the core of a film’s narrative, the less exciting it tends to be. Almost any explanation Gray could give us is less interesting than what we’re likely to conjure in the darkest corners of our minds. 

Gray pairs the onscreen action with an eerie score, ominous sound design, and jarring musical stings that accentuate some of the more harrowing exchanges contained within. From an auditory perspective, each aspect of this picture is on point. Everything from the cacophonous banging noises to the creaking sounds is expertly captured and presented at just the right volume to unnerve the viewer while simultaneously pulling us into the action. 

The director’s camerawork also does plenty to help with immersion. Gray uses voyeuristic shots from outside the house to render the viewer ill at ease and make them feel like an unwilling participant in the action. The cinematography works alongside the director’s wholly effective use of sound to create an ever-present reminder that these characters are in grave danger and someone or something is lying in wait.  

In addition to delivering on a technical level, Gray also impressed me with the way he makes the most of what I assume is a small budget. He scripts the story as rather grounded, negating the need for a large cast or expensive set pieces. We spend most of the film with the two core characters, and the vast majority of the action unfolds inside Neeta’s home. That works well to instill a sense of claustrophobia, in addition to helping keep the bottom line tight. 

All things considered, We’re Not Safe Here is a promising debut from a director I’d like to see more from. The flick delivers prevalent tension thanks to Gray’s impressive technical prowess, not to mention standout showings from both leads that kept me captivated from start to finish. 

We’re Not Safe Here is available now on digital and VOD.

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