The Wailing

Two and a half hours, and it withholds whether the shaman is helping right up until the end, and arguably past it.

A bumbling village policeman investigates a series of killings in which the perpetrators are found covered in boils and unresponsive. A Japanese stranger has moved into the woods. His daughter starts to change.

Na Hong-jin builds it as a comedy for the first forty minutes, with the policeman as a coward and a fool, and then removes the comedy without announcing it.

The extended ritual sequence, cut between a shamanic exorcism and something happening elsewhere, is a bravura twenty minutes.

The film is about the cost of doubt, and it is constructed so that the protagonist's every choice is defensible and every one is wrong.

Nobody agrees on what happens. That is the design and the film gives you enough to argue either way.