A Nordic myth awakens
Born and raised in Lund, Sweden, Philip da Silva studied filmmaking and video production in Stockholm and has spent the past twenty years working on numerous projects and becoming co-founder and director at Pentagram Film AB. He has written and directed several award-winning short films, such as “Trädfolket” (“The Tree People”, 2009) — which won two awards at the Novemberfestivalen in Trollhättan, Sweden — and the short “Min storebror Charlie” (“Big Brother Charlie”, 2013) shown on national television in 2014. His 2015 short film “Samma som du (“Just Like You”) went on to win several international awards back in 2016 and 2017 including “Best International Film” at the Manchester International Film Festival (MANIFF).
In his feature debut, From Darkness, da Silva loses himself in the frostbitten woodlands of Sweden. Here park ranger Angelica seeks the help of her former dog-handler boyfriend Viktor to search for a missing woman in a dangerous nature reserve, complicated by a disturbing myth about the Cave Banshee; a vengeful spirit from Nordic folklore that once lured miners to their deaths in the treacherous caves. As they delve deeper into the forest, Viktor starts to question his own sanity and whether the rumoured Banshee is more than just a myth. To make matters worse, Angelica and Viktor share a painful history with the haunted place, one they must confront to unravel the reserve’s many mysteries.
Philip shares his real-life influences on the film and some of the unique approaches to the sound design…
Where did the premise of From Darkness come from?
The premise of From Darkness originated from a compelling article I read about a dog handler who was frequently called upon to search for missing persons during the night. I was deeply fascinated by the idea of someone who willingly ventures into the darkness, embracing the uncertainty and solitude it brings. This concept of confronting the unknown in the dead of night resonated with me. Combining this fascination with Nordic folklore, I was inspired to create a story that explores the interplay between the mysterious — often eerie elements of folklore — and the real-world bravery of those who face the night head-on. This blend of real-life heroism and mythical intrigue forms the backbone of the film.
What is it about working in the horror genre you love so much?
What I love about working with horror is quite unexpected, as, originally, I was by no means a number one fan of the genre. This initial detachment intrigued me, as I thought my perspective could bring a fresh approach, hopefully, less influenced by the conventions and expectations of horror fandom. As I began working on From Darkness, I found myself increasingly captivated by the genre. Horror uniquely leverages every aspect of the film medium, from visual and sound design to pacing and atmosphere, to create an immersive experience.
However, it was crucial for me that the film didn’t just aim to frighten the audience but also to tell a compelling and dramatic story. Thus, this film is rather a horror thriller and not just a horror movie. This balance between evoking fear and delivering a meaningful narrative is what ultimately made me fall in love with the horror genre in my own way. It challenges filmmakers to push the boundaries of storytelling and technical execution, making it an incredibly rewarding space to explore creatively.
Environment is a crucial character in this film. What were the challenges filming out in the cold and was it as remote as it looks on screen?
Filming in the cold and dark for so many weeks was extremely challenging for the whole team. During our test shoot, just a few weeks before the main production, I was freezing my behind off. At that point, all I wanted was to get home quickly, and my decisions reflected that urgency rather than what would make From Darkness a great movie. After that experience, I went straight to a hiker’s store and bought the absolute warmest jacket they had, one designed for polar expeditions. It was the best decision I ever made for this shoot. From then on, I didn’t freeze a single day and genuinely enjoyed every night out in the freezing cold.
“… some scenes, such as those
in the cave, were shot 80 meters
underground in real silver mines, and
the ruin scenes were genuinely
in the middle of nowhere.”
— Philip Da Silva
However, the challenges of filming in such harsh conditions were numerous. Ensuring the team could handle basic needs, like using the restroom without getting “stuck in the seat,” was tough. We had a dedicated team to clear the roads of snow daily so we could reach the set. Additionally, maintaining motivation in prolonged darkness was challenging, so I promised myself to bring 100% warmth and energy to set every day and pass that forward to the team.
Regarding the feeling of remoteness, most of the shoot locations weren’t as far from civilization as they appear on screen. This proximity meant we had to do some post-production work to clean up light pollution from nearby cities. However, some scenes, such as those in the cave, were shot 80 meters underground in real silver mines, and the ruin scenes were genuinely in the middle of nowhere. These locations added to the authenticity and atmospheric depth of the film.
I love how Scandinavian movies tap into folklore and mythology. In terms of storytelling, what is it specifically that you feel Swedish movies bring to the surface about its people?
Actually, not too many Swedish movies delve into folklore and mythology, reflecting our deep connection with nature and our cultural heritage. It’s too bad because I believe that there should be more films that highlight the resilience and stoicism of the Swedish people, shaped by harsh climates and long, dark winters, while also exploring the balance between isolation and community, emphasizing the importance of human connections.
A unique aspect of Swedish folklore we were inspired by is how it might have actually been used practically. For instance, the mythology around the cave wraith might have been employed to keep silver miners in line, explaining why some died in this dangerous work environment and suggesting that misbehaviour would anger Mother Nature. This might have been a tactic by mine owners to maintain order or for the people to just explain tragic accidents.
Out in the cold. FROM DARKNESS has some familiar vibes.
The film has echoes of John Carpenter in its atmosphere, set pieces and the photography of the environment. What are your influences as a filmmaker – within and beyond the realms of cinema and genre filmmaking?
As I mentioned earlier, the main inspiration for the film was my fascination with dog handlers who search for missing people in the dark. I am in awe of their bravery in venturing into the darkness to find something that, in many cases, will be an unpleasant discovery. I became captivated by the idea of why they voluntarily put themselves in such vulnerable situations and whether it might sometimes be to challenge their own fears. Our film is very much about this theme, with Viktor needing to go back into the forest to confront his deepest fears. All this also taps into my own fear of the dark as a child and me challenging this still today.
“… my primary influences come from
real-life bravery, the nature of darkness,
and elements of folklore…”
— Philip Da Silva
Speaking of darkness and fear: the concept of darkness itself was a crucial inspiration. We explored what darkness is, how to portray it on film, and why people are afraid of it. The cinematographer and I were particularly influenced by the film It Comes at Night (2017), which uses light very sparingly. We aimed to work with as much natural light as possible but realized that a film showing only what a headlamp illuminates could quickly become monotonous. It was essential to find a good balance.
So, while there are atmospheric similarities to Carpenter’s work, my primary influences come from real-life bravery, the nature of darkness, and elements of folklore, creating a unique blend that shapes the film’s atmosphere and story.
The atmosphere is certainly foreboding and unbearable at times. Aside from the environment, the use of sound is also a crucial element that heightens all of this. I’m interested to hear how carefully this was balanced; both in building tension and delivering a familiar banshee wail.
The absence of light gave us more room to focus on a detailed sound design, presenting a fun set of challenges for both the sound designer and the composer. I wanted music that created unease, but not just through conventional ‘dark’ tones. This is where Norwegian composer Erik Skodvin was a perfect match. His work with instruments outside the classical melodic framework was crucial for the film’s feel. His ability to craft chilling discomfort while staying close to Nordic folk traditions was essential.
The sound design, however, proved to be even more challenging than I had imagined. The forest is both silent and not. Every tiny sound, like a branch snapping underfoot or a whispering entity, needed to be audible. This required an intense effort from our sound designer to continuously strip away and minimize sounds so that the audience could perceive the smallest noises, making them sit on the edge of their seats, listening to the ‘silence’ of the forest.
Going underground. Something hides within the old abandoned mines
Creating the wraith wail was a fascinating process. The film is set in a remote nature reserve and in Sweden, there’s a region with an almost extinct dialect so unique that even Swedes can’t understand it. We found this eerily compelling. We managed to find a woman who still masters this dialect and brought her into the studio. She created various sounds based on words and phrases in this dialect. We then digitally modified these sounds to achieve what became the wraith wail.
Balancing these elements was key to building the film’s tension and delivering the wraith wail in a way that felt both familiar and hauntingly new. This together with the fact that the film is actually mixed in Dolby Atmos makes the experience perfect for the cinema, especially where Dolby Atmos is available.
What do you want an audience to take away from the film?
This is a challenging question to answer. For me, much of the creative process was about making a horror thriller for adults. It wasn’t just about scares and discomfort but also about telling a story of guilt and loss. All of our characters have lost something they want to regain… but the clever thing about a forest is that it’s so easy to lose oneself in it.
My hope is that the audience loses themselves in the darkness and the forest along with our characters. I want them to understand their struggle and to find their way back on various levels while being engaged in an unpredictable and thrilling story. At the same time, there’s room for classic scares and unease. Ultimately, I want viewers to be immersed in a story that balances fear with deeper, more emotional themes.
Follow Philip on Instagram and keep up to date on his projects via Pentagram Film over on their official site and Instagram.
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