雄心勃勃的年轻女演员维姬在新加坡一部有前途的戏剧作品中获得了主角。然而，一辈子的机会似乎是导演丹尼尔手上一个逐渐蔓延的虐待故事的开始，对他来说，虐待暴力和艺术实践是不可分割的。但是，动力可以改变。… 在《恶魔》中，丹尼尔·辉以深刻、错综复杂的方式，在排练场景和他们的私生活中探究主人公情感状态的深层次，揭示了艺术和文化世界中的权力结构和依赖性的苦涩真理，这些都可以基于精神压力和操纵。同时，这部电影还充当着一个社会地震仪，让观众无情地一瞥人际关系最黑暗的角落。在复杂的声音设计的帮助下，回族将恐怖和讽刺元素的复杂混合融入了这个神秘幽灵的故事中。这些不同的幽灵出现在情节中，就像人类心理爆发的表现——并且越来越失控。有时候最好把精灵留在瓶子里。 Ambitious young actress Vicki lands the starring role in a promising theatre production in Singapore. What seems like the opportunity of a lifetime, however, turns out to be the beginning of a story of creeping abuse at the hands of director Daniel, for whom sadistic violence and artistic practice are inseparable. But power dynamics can change . . . In Demons, Daniel Hui plumbs the depths of his protagonists’ emotional states in profound, intricate fashion in both rehearsal scenes and in their private lives, bringing to light bitter truths about power structures and dependencies in the world of art and culture, which can be based on psychic pressure and manipulation. At the same time, the film serves as a societal seismograph, affording the viewer pitiless glimpses into the darkest corners of interpersonal relationships. Aided by a sophisticated sound design, Hui folds a complex mixture of horror and satirical elements into this story of mysterious ghosts. These various spectres appear in the plot like eruptive manifestations of the human psyche – and spin increasingly out of control. Sometimes it’s better to leave the genie in the bottle.