Bishal Dutta’s directorial debut, It Lives Inside, opens with a familiar scene: a camera glides through a worn-down house, its halls strewn with lifeless bodies. Disturbing cries echo from a half-open door leading to the basement. Descending the creaky stairs reveals a charred corpse, hand outstretched towards a jar filled with ominous black smoke—a metaphor for the struggles faced by Indian residents in this predominantly white suburb.
It Lives Inside delves into cultural mythology and typical teenage tribulations through the eyes of Samidha (a compelling Megan Suri). Samidha, or Sam, is the archetypal popular student with an overbearing mother (Neeru Bajwa) and a crush on the school heartthrob (Gage Marsh). Her former best friend, Tamira (Mohana Krishnan), grapples with her own demons, clutching the same ominous jar seen earlier.
Concerned teacher Joyce (Betty Gabriel) urges Sam to help Tamira, but Sam rejects her, dismissing Tamira as “crazy.” However, events take a terrifying turn when Tamira disappears mysteriously, and a malevolent specter haunts Sam’s dreams, attacking those around her. While the film attempts to blend teen drama with an immigrant allegory, it struggles to merge these themes coherently.
The film’s monster, a Pishach from Hindu and Buddhist mythology, draws comparisons to The Babadook. Both creatures isolate victims and prey on their minds, highlighting the universal impact of loneliness. It Lives Inside explores themes of othering and assimilation, reflecting the challenges faced by Black and Brown people in white-dominated environments. Sam distances herself from her cultural roots, leading to conflicts with her traditionalist mother.
While the film hints at the origins of the monster and its connection to Indian families, it falls short of fully exploring the weight of assimilation, a missed opportunity akin to His House. Sam’s desperate need to fit in lacks consequences, as the film fails to depict the societal repercussions of her actions, diminishing the immersion within the narrative.
Visually, the film relies on close-ups and attempts to emulate Spike Lee’s double dolly shot. However, these techniques feel forced, lacking the impact intended to convey Sam’s inner turmoil. Match cuts and sound design intended to evoke horror fall flat, contributing to a disjointed viewing experience. The climax, a prolonged basement confrontation, loses momentum, revealing the film’s eagerness for a sequel rather than a satisfying resolution.
It Lives Inside had the potential to craft a compelling Indian-American horror story within the suburban landscape. However, its shortcomings in plot, thematic depth, and tension prevent it from realizing this potential, leaving the film to stand as an average attempt at exploring the intricacies of identity and fear in an unforgiving environment.