Wishes of the blue girl is a mystery-drama-horror film that takes viewers into a world of eerie loneliness and creeping dread. While the film presents an intriguing premise and delivers some genuinely unsettling moments, it ultimately struggles to maintain momentum and coherence, resulting in a final product that feels more like a missed opportunity than a fully realized vision.

The film centres on Isabel, played by Niamh Anna, a young woman living alone in a sprawling but eerily empty house. The story begins with Isabel navigating her life in this empty space, where every shadow and creak seems to hold a hidden threat. The setting is almost a character in itself, with its vast, echoing rooms and the sense of isolation palpable in every corner. Isabel’s loneliness is palpable, and the camerawork captures this beautifully, using wide shots and long takes to highlight her vulnerability in the vast emptiness.

A master class in atmosphere and tension

Wishes of the Blue Girl masterfully creates an atmosphere of creeping dread that few films achieve. Each frame is a visual treat, using shadows and isolation to create a hauntingly beautiful aesthetic. Director Ryan A. Conaill’s minimalist approach to horror proves that sometimes the scariest things are the ones that go unseen.

Performances

As the story progresses, Isabel experiences a series of strange occurrences. Objects move on their own, whispers echo through the corridors and the line between reality and hallucination begins to blur. In these moments Wishes of the blue girl is superb, creating an atmosphere of suspense. Ryan A. Conaill’s direction shines in these scenes, using a minimalist approach to horror that relies more on suggestion than overt terror. The sound design in particular deserves praise, as it uses subtle, unsettling sounds that heighten the sense of unease.

Niamh Anna delivers a strong performance as Isabel, effectively conveying a woman teetering on the brink of madness. Her portrayal is nuanced, capturing both the fragility and quiet strength of her character. Isabel is a woman haunted by something she doesn’t understand, and Anna’s portrayal ensures that the audience feels every ounce of her fear and confusion. Despite her captivating presence, however, the script doesn’t give her enough material, leaving her character’s backstory and motivations largely frustratingly vague.

The supporting cast, while limited, also contributes to the film’s eerie tone. Veronica Henley, as the mother, appears primarily in eerie, dream-like scenes. Her presence adds psychological complexity to the story, hinting at a troubled relationship that may be key to understanding Isabel’s current predicament. Henley’s performance is haunting, her portrayal of the mother figure both tender and threatening, a ghostly echo of past traumas that still haunt Isabel.

The bad:

Luis Masters’ role as Julio is sadly underdeveloped. Julio’s character seems to have been intended as a sort of prop, someone who could save Isabel from the brink, but his inclusion feels more like an afterthought than an important part of the narrative. This underutilization of a potentially significant character is indicative of the film’s larger problems with pacing and storytelling.

Where Wishes of the blue girl The film’s biggest weakness lies in its narrative structure. The film’s slow-paced approach, which initially builds tension, eventually begins to drag. Scenes that should build tension instead feel repetitive and the story often meanders without a clear direction. The sense of mystery that should be the driving force of the plot becomes muddled as too many questions are left unanswered. The film seems to rely on ambiguity as a substitute for depth, but instead of leaving audiences with thought-provoking uncertainties, it risks leaving them simply confused and dissatisfied.

It is in the third act that these problems become most apparent. As the film approaches its climax, the pace quickens, but instead of a coherent reveal of the mystery, we are treated to a series of disjointed and confusing scenes. The final reveal, which should be a shocking twist, feels anticlimactic due to the lack of proper build-up. It is as if the film wants to say something profound about grief, memory, or the supernatural, but never manages to fully express its ideas.

Atmosphere:

Visually, Wishes of the blue girl is great. The cinematography, as mentioned, captures the eerie isolation of the house beautifully, and the use of light and shadow adds to the film’s unsettling atmosphere. This is probably one of the film’s best features.

In terms of horror, Wishes of the blue girl relies heavily on atmosphere rather than traditional scares. There are no jump scares or grotesque imagery; instead, the film aims to disturb the viewer on a psychological level. For some, this approach will be a welcome change from more formulaic horror films, but for others, the lack of emotive fear may lead to a feeling of detachment.

In total:

Ultimately, Wishes of the blue girl is a film that shows potential, even if it’s nothing fantastic. Ryan A. Conaill’s direction demonstrates a keen understanding of how to build atmosphere and tension. Additionally, the acting, particularly that of Niamh Anna and Veronica Henley, is commendable. However, the film’s pacing issues, underdeveloped characters, and muddled narrative prevent it from achieving the emotional and psychological impact it aims for.

For fans of slow horror and atmospheric storytelling, Wishes of the blue girl is worth watching for its mood and performances. At its best, it’s a haunting exploration of isolation and fear. At its worst, it’s a frustrating exercise in style over substance.