From the outset, ‘The Pit’ shares a world with the likes of ‘The Wicker Man’ and ‘Blood on Satans Claw’, a ritualistic community sworn by the belief of something otherworldly. A pit in their village sees a group of backwards villagers sacrifice the lives of their own at the hands of a jug maker. Whichever face the jug face (a much better title than ‘The Pit’) represents, will need to be sacrificed to the pit.

 

When the next face to be chosen is Ada (Lauren Ashley Carter) sparing her incestuous pregnancy with her brother, she hides the jug. However, rather than sparing herself from her fate, the jug maker Dawaii (Sean Bridgers) covers the loss by making additional jugs, this time the pit wants more and as Ada’s fate evades the pit, everyone around her begins to fall.

 

Part cult movie, part social reflection at times this is hard hitting when in relation to the backwards abuse and behaviour of the villagers. Somehow the supernatural activities become a welcome breath of fresh air to an otherwise depressing film.

 

The relationship between Ada and Dawaii helps create a likable bond to Ada that makes the subtle ending more upsetting than it really should be. Beyond its tale of a monstrous pit consuming a community, there is something deeper than a horror film and a drama that builds the foundations for something much more than what it should be. The supernatural elements are shadowed by the livelihoods of the locals and while it’s evident this is a low budget chiller, the action remains firmly with the actors themselves.

 

Ghostly apparitions and exploding people are a day’s work for the pit and a fine job is done with stretching a small budget. Director Chad Crawford Kinkle has shown a flair for the horror of humankind and an unsettling insight into backwards life and abuse, it’s just a shame that the horror doesn’t stretch much further and remains as shallow as the pit itself.