ÉCLAT

The scouts

A woman and her mirror become a battleground for something unseen — and De-Wulf refuses to give you the monster reveal, the jump scare, the comfortable villainization. It's horror stripped of its crutches, which should feel pretentious but somehow doesn't.

The formal restraint here recalls Bresson's asceticism and Koreeda's patient observation of private ritual; De-Wulf situates psychological horror within a lineage of European art cinema that treats the body as text rather than spectacle.

That invisible presence is never shown, never named—the entire film's power rests on De-Wulf's choice to let the woman's reflection become the only antagonist, turning a mirror into the most unsettling prop in two minutes of frame.