Overlook Film Festival audiences got a dose of Irish folk horror with All You Need Is Death. Written and directed by Paul Duane (Very Extremely Dangerous, Barbaric Genius), All You Need Is Death follows a young couple as they collect rare folk songs across Ireland. When they discover an ancient song not meant to be recorded or translated, they unwittingly awaken a darkness that threatens to devour them.

There is no denying All You Need Is Death is a unique, intriguing film. It uses folk music as the seed for many different themes. The most obvious theme being the oral tradition of passing down stories, especially through music. Over the centuries many songs have been lost to time, which is why the characters in this film are so interested in collecting and recording as many as they can. When it comes to the song being sought in All You Need Is Death, there are elements of generational trauma and mysticism. This song is one passed down only from mother to daughter, going back to a time before the Irish language, so the current bearer of the song doesn’t even know the true translation. All she knows is the horrific events that led to the song’s creation. This is a song with power; and therefore, it is a burden to the women who sing it, their’s to keep safe until passed to the next singer, with dire consequences should the rules ever be broken. The song, and the events of the film, also have an interesting take on love. Love isn’t portrayed as a thing of beauty; instead, it’s seen as an all-consuming feeling with the power to swallow you whole.

Even with all the potential in All You Need Is Death, it doesn’t come across as fully developed. The seeds are certainly there, but the esoteric and unexplained elements seem to leave too much up to interpretation. This is something that applies to the nature of the song itself, as well as certain aspects to the couples’ search that eventually leads them to the song. It’s clear the filmmaker had a vision and a message, and it’s undoubtably one many audiences will enjoy, but others will wish they had more context to better understand the journey that leads to the disturbing end.

There are four primary cast members of All You Need Is Death. Simone Collins (The Last Duel, Barber) stars as Anna, a young singer and collector of folk songs. Of everyone involved in the search of the ancient song, Anna seems to have the most pure intentions, which makes Collins’s performance all the more gut-wrenching when things go wrong. Charlie Maher (Black Narcissus, Blue Lights) plays Anna’s boyfriend, Aleks. While Maher makes Aleks charming, if not a bit cocky in the beginning, it’s as his performance gets more unhinged that Maher really shines. Catherine Siggins (The Scam, Happy Horror Days) plays Agnes, an enigmatic woman also trying to find the song. While this character likely could have been developed more, Siggins does a fantastic job of conveying a sense of power and determination in Agnes, while also displaying a sinister edge. Then there is Nigel O’Neill (Boys From County Hell, Vikings) giving an affecting performance as the song-keeper’s son, Breezeblock. Breezeblock has the most heartbreaking story of the group, being the son of the song-keeper and never being able to hear the song simply for being born male. While these characters are all quite different, their obsession with the folk song drives them and eventually brings them together in a haunting, climactic end.

Of all the artistry in All You Need Is Death, the clear highlight is the music. The various folk songs are beautiful and well-performed by the singers in the cast. It’s apparent the crew had an understanding and passion for the music presented in the film. Outside of the musical elements, the visuals are a mixed bag. There is some light CGI which is used sparingly, but what is included is a clear sign of the budgetary constraints. The film also has a few visually confusing scenes. This includes opening with a scene that almost appears as “found-footage” before quickly shifting to a typical narrative film style. It also includes scenes that are both dream-sequences and flashbacks to the origin of the song. While these scenes have interesting costume and makeup design, they are bathed in a blue filter that doesn’t fell authentic to the time period. The best visual element is the practical effects. Sometimes only hinted at, and sometimes shown in full view, the practical makeup done specifically on the men in the film is sure to leave a lasting impact on audiences.

All You Need Is Death crafts a fascinating tale of music, folklore, and horror, but it doesn’t manage to bring all the pieces together in a cohesive manner. There’s absolutely no denying Duane has a unique voice and cinematic style. The cast is electric, the folk songs are stunning, and the messages conveyed are important ones. There are just certain aspects of the lore and world-building that seem unfinished and leave many lingering questions. It’s still a film with much potential that I recommend people see, especially since there will undoubtedly be an audience that will adore All You Need Is Death. If you missed the film at the Overlook Film Festival, it will be opening in select U.S. cinemas and on VOD from XYZ Films on April 11, 2024.

OVERALL RATING: 5.5/10