Everyone has a little bit of a monster in them.

Directed by Kourtney Roy, Kryptic tells the story of Kay (Chloe Pirrie), a woman who goes on a quest to find a missing monster hunter. Venturing into the woods, she engages the mysterious Suca but also creates a complicated bond with the creature that begins to change her from within. As she attempts to piece together her world, Kay (and the Suca) step into her life once again but can she ever truly go back to what was before? And does she even want to do so?

In Kryptic, Roy has created something truly fascinating visually. Almost every scene carries its own unique aesthetic and vibe. Scenes in bars are dark but steeped in the bleeding colours of neon lights. Meanwhile, domestic scenes are bright, crisp and clean, suggesting that this is meant to be the ideal. Nevertheless, in neither scene are we meant to feel at ease. In the shadows, we’re uncomfortable because we feel unsafe. Yet, at the same time, scenes in the home feel too safe, as if this vision of domestic bliss is actually restricting and toxic.

But, make no mistake. Kryptic is as enigmatic as its title suggests. This is the sort of film that prides itself on taking the viewer on the road in an (almost) Lynch-ian manner. Blending body horror and science fiction, Kryptic enjoys leaning into the bizarre. At all times, this is meant to create a sense of unease. Each movement by Kay feels almost stoic in its approach. Her reactions are minimal as the Suca attempts to grasp the world around her.

In this way, there’s an element of self-discovery taking place within her as Kay moves further on her journey. Kay’s (or the Suca’s) world is in constant psychological evolution. As the monster grows within her, we see her confidence increase as well as her sexual appetite.

Interestingly though, although one could build an argument that Kryptic is meant to signify the feminist rebirth in a world of toxic masculinity, Roy has stated that this isn’t necessarily the case. Instead, she believes that Kryptic is a challenge to the psychological boxes that society places us all within. Notions of marriage, having children and general gender roles are all challenged as limiting to the human experience. She is a woman who will no longer be contained by sociological norms. (Without giving spoilers, the scene within the garden is a great example of this.)

You see, Kryptic argues that everyone has a little bit of a monster in them. The real question is whether or not it needs to be tamed. For as much carnage that the Suca can cause, there’s also a sense of empowerment that stems from its beastly nature. For Kay, the connection with her inner monster is not only something that needs to be fed. It’s also something that she can feed off of, if she’s willing to let it loose. (“Whatever divine spirit has touched you… I say embrace it,” she’s told.) There’s something freeing about this sort of argument as Kay slowly steps into a power that she’d never known before.

And Kryptic believes that its worth letting the beast roam free.

Having said this though, it’s also worth noting that the film can often play itself in such a cold manner that it can be difficult to fully empathize with Kay. In essence, while we’re meant to be an outsider on the journey, the film’s quirky style and cool demeanour can make it hard connect with her. As a result, Kryptic could leave some viewers scratching their heads, if they’re not willing to engage the film’s more head-y elements.

As a result, the same sensibilities that make Kryptic such an absurdist sci-fi puzzle worth unpacking could also be those that keep viewers away. Even so, Kay’s psychological journey into the soul remains a fascinating trek into the bizarre for those who are willing to step into the woods.

Kryptic is available on VOD/Digital on May 9th, 2025.