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The People in the Walls

The People in the Walls

2024

Director

Michael Crum

Runtime

93 minutes

Average Rating

No ratings yet

Synopsis

A viral ritual allows three kids to conjure people from the walls as they must now try to put them back before it is too late.

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Diversity & Representation

Overall Score

4.0/10

Fair


Category Breakdown

LGBTQ+ Representation

Minimal

The film lacks explicit evidence of non-cisnormative identities. The narrative focuses on a supernatural ritual involving three children rather than queer themes.

Gender Representation

Fair

The cast features a mix of male and female performers. It remains unclear if the story subverts traditional gender hierarchies or relies on genre tropes.

Racial & Ethnic Diversity

Fair

The top-billed cast suggests a multi-ethnic production through names like Natalia Santacoloma and Mark Anthony Baca. However, character agency regarding racial dynamics is unconfirmed.

Religious & Cultural Diversity

Fair

The plot utilizes rituals and viral videos as central devices. This framework offers potential for exploring morality, though specific cultural or secularist stances are not detailed.

Disability Representation

Minimal

There is no mention of characters navigating physical disabilities, neurodivergence, or mental health conditions within the known plot details.

Strengths

  • The top-billed cast includes a diverse range of names, suggesting a multi-ethnic production.
  • The film features a balanced mix of male and female performers in the primary cast.

Areas for Improvement

  • The narrative lacks explicit representation of LGBTQ+ identities or non-cisnormative perspectives.
  • There is no visible inclusion of characters navigating disabilities or neurodivergence.
  • The film provides no evidence of intentional subversion of systemic hierarchies or social commentary.

AI Analysis

The film functions primarily as a genre-driven horror thriller centered on a ritualistic premise. While the casting suggests a baseline level of demographic inclusion, the narrative appears to prioritize plot-driven tension over social commentary. There is a lack of evidence regarding intentional progressive disruption or intersectional storytelling. The focus remains on the survival of three children and the supernatural monsters they conjure. Ultimately, the production presents a standard genre entry. It achieves moderate demographic variety in its cast but lacks specific indicators of complex identity-based narratives.

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