What is this thing we have before us called Djinn? It is a horror movie with actual characters, actual real world circumstances. It is a product, made to bring the joys of horror entertainment to a foreign market, but far removed from the hard definitions belonging to a product, instead seemingly engineered backwards: the characters, a relationship to the real world, and a diversity of social intimations conceived of first and with seeming priority, with the audacity and truthfulness only to intimate and leave purposefully fractured and unresolved its sense of involvement in the quotidian aspects of the world, the horror elements laid atop (a series of ritualistic and indeterminate occult scenarios) onto the dramatic and emotional landscape meant to be exploratory and inquisitive rather than means to a result.
Djinn is a film of carefully modulated performances above all. Carefully decided upon, that is, but Hooper's direction otherwise renders emotions as boldly individualistic, Razane Jammal's multi-faced Salama most of all used to define the swings of Djinn's moods and noncommittal emotions in the face of deeply (but by deferential, wisely overcome design) obfuscated and indeterminate points-of-view.
"Gli interni delle stanze sono messi in relazione con i personaggi e ogni arazzo e ornamento a Salama ricorda metaforicamente il figlio, creando una psicosi reiterata." ("The interiors of the rooms are placed in relation with the characters and each tapestry and ornament to Salama recalls metaphorically the child, creating a psychosis repeated.") - Fabio Zanello
Tobe Hooper's newest work is truly unique, novel, sui generis, an adventure, its "soft definitions" resulting in a film utterly permeable to the real world.
You may have to be patient, I am almost sure of that, but more to come on Djinn.