Roh (2020)

A mother and her children shelter a strange girl in a Malaysian forest, where every act of hospitality seems to deepen their uncertainty. Emir Ezwan draws on Malay tales and religious doubt without turning the film into an explanation of either. Firelight, clay and patient woodland compositions do the unsettling work. Choose it for an intimate nightmare whose ambiguities survive the ending, rather than a mystery that labels every threat.