The horror genre never stops evolving no matter how many times the same concept is revisited by different filmmakers. It always has something to offer – scary, new storyline, settings and characters. It is almost as if different people from different continents relive, but in their own way.
“The Undertaker’s Home”, from Argentinian filmmaker Mauro Ivan Ojeda, follows Bernardo, a family man, who owns a funeral home in his own big house. While in front of it there lies a bunch of caskets, at night, and at the other side of the house, there are spirits living in it, as if they had never died. Bernardo (Luis Machin) believes that spirits never kill people but when a demonic presence appears in his house, he realizes that he might have been wrong all this time.
Bernardo has a complicated relationship with his stepdaughter, Irina (Camilla Vaccarini), who desperately wants to leave the house. Who would not, to be honest. At night, the house is filled with the horrific creatures which Irina can no longer persevere with. Her Mother, Estella (Celeste Gerez), on the other hand, does not want her daughter to leave her side despite the fact that she herself is scared to death, sometimes.
In certain scenes, the obsession of Bernardo with spirits is too obvious. He stands naked right in front of windows, asking for something to appear right before him, as if he knows how to handle such a power. They can’t even use the bathroom inside the house because it’s hunted yet Bernardo keeps inviting more spirits, not knowing that soon he is about to learn a dark secret of a family and reasons why a demon wants to kill not only him, but his wife and stepdaughter too.
“The Undertaker’s Home” is a chilling horror film that is suitable to watch at night, if you can manage it. Perfect cinematography and settings allow the film to deliver a dark atmosphere that will terrify you to the core. However, do not expect it to have too much blood, as the film mostly concentrates on a ghost’s story, its brightest and darkest sides. It also captures its humane part too, but only to fool the audience until it is not.