Before unleashing a cruel fate upon its characters — one of the worst in recent horror memory — The Borderlands leads the audience down a different path, insensibly alluding to what all lies ahead. The plot breadcrumbs of Elliot Goldner’s 2013 film are only more discernible after the fact. Until that momentous reveal, this plays out as a standard story of believers and nonbelievers investigating the religious unknown and finding more than they ever thought possible. What these unfortunate souls unearth is deeply disturbing.
Renamed Final Prayer in some parts, this British film has grown steadily in renown despite its small beginnings. Recently, Guillermo del Toro put The Borderlands on more radars; the popular filmmaker deemed it an “unknown gem.” Even before obtaining such a great endorsement, Goldner’s first feature (his only one to date) was applauded for its approach to first-person and folk-horror storytelling. More high praise: The Borderlands has been favorably compared to The Wicker Man.
Demonic possessions and exorcisms tend to go hand in hand when watching religious horror. Refreshingly, The Borderlands evades those overused elements even as the film’s backdrop predominantly features a church. Nevertheless, uninitiated viewers will suspect supernatural goings-on are in store after witnessing the prologue; a shared video clip shows the aftermath of an incident at a Brazilian shrine. Already in those first few seconds, Goldner is adept at misdirection, although the fruit of his labor is still a bit of a ways off. There are the standard formalities of these kinds of films to deal with first. Namely the introduction of the cameraperson, the purpose of visual documentation, and, of course, the mission. What brings these characters to the Devon countryside and why must their business be recorded?
Pictured: In The Borderlands, Deacon (Gordon Kennedy) prays after Father Crellick’s (Luke Neal) death.
As they say, a leap of faith can lead to miracles. For Brother Deacon (Gordon Kennedy), however, miracles have become the bane of his existence. He has lost his way ever since Brazil. Sent by the Vatican, the same man spotted in the film’s vague intro is now in charge of yet another religious inquisition: confirming the veracity of a supposed miracle inside a rural church. Joining Deacon are an agnostic tech expert, Gray Parker (Robin Hill), and the rather inflexible Father Mark Amidon (Aidan McArdle). Footage of objects mysteriously moving during a christening is supported by local priest Father Crellick (Luke Neal), but Deacon and his team are, needless to say, skeptical.
Compensating for an implausible situation is the film’s grounded setup. And at the core of this out-there story are these two mismatched characters who, individually, feel like they were plucked out of real life. Intense and weary Deacon would probably never find himself in long conversation with layman Gray, a babbling goofball, had they not been assigned to work together. That being said, there is a terrific amount of chemistry between these men with opposite life experiences. Their convincing on-screen fellowship, not to mention an ability to meet one another halfway, sells everything. Especially the film’s outcome.
Something The Borderlands implements early on — and other found-footage auteurs should take note of — is assigning cameras to more than one character. This allows for a variety of angles and views, much like in a traditionally shot production, without losing the immediacy and intimacy of the first-hand perspective. The director also does not have to resort to inorganic tactics to ensure every moment is captured on video. Another general gripe with the found-footage format is the valid question of why characters never drop their recording devices when in peril, or why they always happen to have a cam available when anything weird occurs. Here the simple fix of wearable cameras makes a world of difference. Particularly once it comes time for the big reveal at the end. Staying so fixed and unflinching on the characters’ agony is more believable now.
Pictured: Deacon (Gordon Kennedy) and Gray (Robin Hill) crawl toward their cruel fate in The Borderlands.
The horror genre’s long history of questioning, challenging and corrupting people’s faith has certainly yielded a wealth of shocks over the years. However, The Borderlands stands alone in the realm of religious horror, due in large part to its uniquely dreadful conclusion. In lieu of a conventional finisher, Goldner pulls the rug out from under everyone and delivers a tremendous ending. The kind that stays with audiences for years to come. What goes down in that final act is as impossible to unlearn and unsee as it is brilliant. The film, in hindsight, portends Deacon and Gray’s fate, but it did so with whispers.
The Borderlands dangles significant clues in front of the audience without them realizing it. The setting’s undeniable sense of unease acts as a smokescreen of sorts; Goldner persuasively establishes how the imminent danger goes far beyond the church grounds, all while throwing everyone off the scent of the real evil here. From local youths setting a live sheep on fire to the sudden suicide of a supporting character, the story has these startling moments that undermine its overall slow-burn quality. And just as the film starts to feel at odds with itself, those pieces finally fall in place and create a bigger picture. Understanding how, though, requires going back and picking up on the considerable indicators (both visual and verbal) from earlier. This scrutiny only makes future rewatches more satisfying.
If The Borderlands aimed to harm viewers on an emotional level, it succeeded with flying colors. Elliot Goldner set up what looked to be a traditional tale of religious horror, only to then lead unsuspecting audiences elsewhere. He took them down a dark passageway and left them trapped with just their raw feelings after witnessing such a horrific sight. This film is indeed recognized for its devastating closing minutes, yet the outstanding storytelling before that point, along with impressive performances from the two lead actors, should not be overlooked.
Since its original release, The Borderlands has gotten lost in the horror shuffle and gone unnoticed by the masses. Once experienced, however, the film becomes an instant reward for found-footage enthusiasts; the ones who comb through the divisive subgenre’s catalogue in search of that one elusive and worthwhile treasure.
Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
Pictured: Poster for The Borderlands.
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