By Terry Sherwood
In modern horror, few television or limited series manages to capture the intricate balance between tradition and contemporary storytelling as brilliantly as Dui Shaw. In a horror world dominated by Judaic/ Christian beliefs or offshoots of, what passes for oriental mysticism you have this brilliant work based of non-western belief system with a folklore all its owns. A successor to the Pett Kata Shaw, this is a television series that does not merely retread the folklore of its predecessor but delves into the horrors of the present, weaving a tapestry of fear, consequence, and fate.
Following the legacy of Unnloukik and Pett Kata Shaw, Dui Shaw stands as yet another triumph in the genre. Its four gripping episodes—Waqt, Bhagyo Bhalo, Beshuro, and Antara—each present unique, thought-provoking narratives that leave an indelible mark on the audience.
The first episode, Waqt, is a compelling exploration of wrongdoing, its inevitable consequences, and the pursuit of justice. The storytelling is taut, the pacing masterful, and the thematic depth ensures it lingers long after the credits roll.
Bhagyo Bhalo, the second episode, takes on a more philosophical tone, centered around an astrologer whose fate undergoes a dramatic transformation. The backdrop of Bangladesh during the onset of civil war adds layers of complexity to the tale. While the episode leaves certain aspects open-ended, it brims with the potential for an entire series of its own. The actor portraying the astrologer delivers an arresting performance. A deeper dive into his sins, choices, and the historical intricacies surrounding his life would be a fascinating venture.
The third episode, Beshuro, offers a poetic and almost whimsical take on creation and moments stolen from their rightful time. The rhyming dialogue evokes memories of Hirak Rajar Deshe, lending a lyrical quality to the episode. Though it carries an intriguing premise, it slightly falls short of fully realizing the high expectations set by the previous narratives.
With Antara, the series returns to its strongest footing. While it initially evokes comparisons to Chanchal Chowdhury’s segment in Pett Kata Shaw, it stands firmly on its own, unraveling a mystery that is both engaging and haunting. The protagonist’s weak memory serves as a central enigma, and while the resolution may be somewhat predictable for those who recall Pett Kata Shaw, it remains a highly rewarding experience. Social commentary on some orthodox beliefs such as arranged marriage, the role of women in society are lovely and vulnerably package in the tale.
As a whole, Dui Shaw is a testament to skillful storytelling and commendable performances. The acting ranges from brilliant to solidly with each cast member delivering immersive portrayals. The technical aspects, including scene transitions, editing, and cinematography, are exceptionally well-executed. While the screenplay occasionally falters in certain moments, the overall cohesion of the series remains intact.
The sound design, while effective, had the potential to elevate the horror sequences even further. The eerie atmospheres occasionally leaned into the familiar, and a touch more innovation could have heightened the spine-chilling moments. Additionally, the Iblish character’s portrayal could have benefited from a more restrained approach—sometimes, less is indeed more in the realm of horror.
One of the most striking aspects of Dui Shaw is its interconnected narratives, which unlike traditional anthology films, does not have a wrap-around story . Some people in North America might be put off by the work’s length being over two hours and reading subtitles, but it is well worth the time to get into this singular universe
The series carries echoes of the great portmanteau horror films of the past, reminiscent of the classic UK and French anthologies like Dead of Night (1945) and Tales from the Crypt (1972). The influence of AMICUS Productions, known for their gripping horror anthologies, can be subtly felt in the way Dui Shaw interconnects its eerie tales. Furthermore, the series’ storytelling sensibilities kinship with Japan’s masterful horror anthologies, such as Kwaidan (1964), which excelled in crafting atmospheric, unsettling narratives.
Ultimately, Dui Shaw is a masterful addition to contemporary South Asian horror, a series that grips, intrigues, and resonates. It solidifies the director’s place as a visionary storyteller, and one can only hope for more projects that push the boundaries of the genre. This is a must-watch for fans of intelligent, atmospheric horror.
Dui Shaw screened as part of SXSW Film Festival 2025.
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