In Shaman, director Antonio Negret and screenwriter Daniel Negret venture into the terrain of folk horror, possession, and postcolonial views, weaving together a tale that is equal parts exorcism and indictment of spiritual assimilation. The picture, set in rural Ecuador, appears to follow familiar possession genre patterns at first, but it gradually evolves into something more layered in terms of characters, even if not entirely different ground. The story centers on Candice (Sara Canning) and Joel (Daniel Gillies), two missionaries living and working in a remote Ecuadorian community, joined by their son Elliot (Jett Klyne).

Their spiritual mission of establishing a new church and converting those they live with to Judaic/Christian beliefs away from the “old ways” is disrupted when Elliot enters a forbidden cave to retrieve a lost watch and a toy plane. The child unwittingly unleashes a primeval force that begins to take control of him. What follows is a descent into demonic control marked by vomiting dark, nasty material up, blackened teeth, and the now-standard arsenal of demonic antics: growling voices, secret revealing taunts to those who oppose.

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