In the 1970s, as the government and trade unions were waging war, blackouts were regularly ordered to conserve power. During one of these Peach-Black Nights, a timid young girl named Val (Rose Williams) finds herself working in the dark on duty on the first day of duty as a trainee nurse in a hospital in London. Writer and director Corinna Biswas does not wait for Roshni to overcome the uneasiness in “Power”. The stale, terrifying atmosphere is also felt in broad daylight as the indecent whispers of children are heard from Val. A nurse says, “People should never be allowed to go dark in one place.”
When the lights go off, the terrorists ramp up with bent finger joints, bodily fluids, and a heart-damaging synth score, when the turbulent soul lays on Val. Faith demonstrates a familiarity with horror language with shots of these spectacles and frightening reflections that effectively play with the notion of spectral possession. He nicely complements the supernatural tension with hostile humans as Wally clashes with other staff, namely the hospital matron and an old friend who also works as a nurse. But Val is so wide and naive for so long that you spend most of the runtime thinking that it can be a backbone.
By the final act, “The Power” reveals a double meaning with its title, in which Faith introduces a feminist-bent social commentary – it refers not only to electric power, but to manipulation. Unfortunately, that message and past events seem so disappointing that the film stumbles into giving a coherent vision.
Not rated. Running Time: 1 hour 32 minutes. Look at the shudder.