'Shadows of the Past' (2025) Indie Movie Review: A Nightmarish Horror Anthology
- Alex Leptos
- Jul 7
- 4 min read
"With the help of my talented community, we crafted a film that’s rich with meaning from beginning to end. The story invites viewers to watch more than once, uncovering subtle details and hidden layers within each frame. My goal was to deliver a clean yet compelling horror experience with characters who are rich in complexity and personality. Pay attention to the nuances—they’re part of what makes this film special. I would compare our film to those such as Goosebumps, Trick r’ Treat, and Scary Tales. Shadows of the Past showcases talent from a diverse group, both in front of and behind the camera. It’s a testament to what can be achieved when art and community come together, offering an experience that’s as thrilling as it is memorable."
- Luz Cabrales (director)
Shadows of the Past is a nightmarish anthology horror movie by Luz Cabrales and Terror Films Releasing. Right from the get-go, a very distinct tone is set. Eerie thunder crashes, a booming score of dread, and a group of troublesome teens (Jamie Dougherty, Ava Wallace, Olivianna Vanesko, Tierney Joyce) seek refuge inside a large Gothic home adorned with flickering candles, spooky statues, and dusty portraits. It’s a bold atmosphere- almost aggressively so- but it certainly works at throwing us into a rather theatrical world that feels like a love letter to a different era of genre filmmaking.
There’s an old school quality to it all-something in the visuals and sound design evokes the feel of a 90s horror film, or even a cutscene from an old PlayStation title like Manhunt. Whether that aged tone is entirely intentional is unclear, but it adds a bit of strange charm to the experience- like something nostalgic that you're experiencing for the first time since it scared the crap out of you as kid.
As stated, this is an anthology horror- or at least it is partly. We see three loosely connected tales centered around characters who commit different moral transgressions- namely defiance, dishonesty and envy. Each story explores the consequences of those actions, though not in a straightforward way. The horror often comes from mood, setting, and performance- before leaning into unsettling, sometimes grotesque imagery. Shadows of the Past achieves a dreamlike, almost surreal edge as we move between what feel like rather disjointed, yet equally unsettling segments. At times it can feel a little overdone, sometimes at the expense of a message or coherent narrative. Cabrales does state though that Shadows of the Past invites or perhaps even demands multiple views to uncover its many layers, and so a rewatch should certainly be on your cards.
The film’s score is ever-present and very loud- sometimes distractingly so, especially in the earlier portions. But as the film goes and the ears adjust, it becomes rather effective in keeping the tension and the unease constant. It’s genuinely unsettling, which to be frank is more than many indie horror scores can claim.
The standout part of the film for me is the story of a dancer consumed by jealousy, presented through a genuinely captivating ballet sequence that leans into abstract visual storytelling and experimental territory. This one is simpler than the other tales, but its expressive style and atmosphere make it one of the, if not the strongest part of the affair. The other stories are certainly intriguing but sometimes feel incomplete- leaving viewers with more questions than they answer- it feels like there's a bit of context and lore missing- or maybe it's just yet to be discovered and fully appreciated.
Having said that though, the segments feel like some cautionary tale that a parent would tell their child to stop them from misbehaving. They might not have all the logic but they seem scary- and that's where the impact is. The teller of these stories is the inhabitant of the house- a mysterious old man (Dan Frederick)- who is sharing them with the group of teens and all this adds a folkloric quality to the film. So maybe that hazy logic is the point.
In its latter stages, Shadows of the Past drifts from its anthology into something a bit more singular as the stories start to come together- but it also becomes a bit more abstract. It's not a film built on payoffs or clarity. Instead, it leans into the nightmarish and the unexplained, which it does very well.
Ultimately, Luz Cabrales has crafted a film that thrives on tone and imagery. If the goal was to showcase an ability to build mood with genuinely striking visuals then I call Shadows of the Past a raging success. It plays out like a long haunting showreel of style and ambition, even if it lacks the narrative focus- but there’s a clear creative voice here. Cabrales shows potential as a filmmaker with a strong eye and a willingness to take risks. Shadows of the Past is certainly the work of someone to watch in the indie horror space.
About the filmmaker
"As a Mexican-American artist, my mission is to create art that not only resonates but invites the audience to immerse themselves in its essence. I strive to weave all facets of the arts into my work, ensuring each piece is as meaningful as it is enjoyable. My passion lies in uncovering and amplifying the stories of underrepresented and often overlooked communities, particularly the incredible local talent that might otherwise remain undiscovered. I aim to use my artistic abilities to provide them with a stage where their voices can resonate and their unique stories can shine, showcasing their brilliance to a broader audience. As an artist, the world is my canvas, and I am committed to painting it with purpose."
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