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In the shadowy narrative of "It Lives Inside," where an ancient demon lurks and sanity teeters on the precipice of darkness, Bishal Dutta crafts a tale that transcends the bounds of conventional horror. Beneath the eerie whispers and unsettling visuals lies a deeper, uncharted abyss — a profound exploration of cultural identity in a world where being different is the truest terror.

The film introduces us to Samidha, portrayed convincingly by Megan Suri, a second-generation immigrant who has chosen to go by the name Sam to distance herself from her South Asian heritage. Her journey becomes a battle not only against an ancient South Asian demon but also a struggle to reclaim her cultural roots when she breaks a mysterious jar carried around by her former friend, another Indian girl now ostracized in the complex social ecosystem of the town’s high school.

Utilizing an element of Hindu and Buddhist mythology, the fear factor is driven by a Pishach, a demonic figure that attempts to possess human beings and shift their thoughts, driving the victims insane. The affliction is portrayed through a combination of eerie visual and auditory cues: The camera work becomes disorienting, with unconventional angles, adding to the sense of unease, and the sound incorporates unsettling whispers and voices that seem to emanate from nowhere, effectively creating a chilling atmosphere.

One of the film's notable strengths is its cinematography, especially notable in its incorporation of close-up shots to heighten the intensity of the story. The visual effects, particularly the use of reds, add to the film's eerie atmosphere. These two strengths act in tandem to support Suri’s compelling performance as Sam, who proves her dynamic ability as an actress by breaking away from her innocent high school cliché in her most notable previous work, “Never Have I Ever.”

But where "It Lives Inside" truly excels is in its incorporation of cultural identity, as the film adeptly conveys the feeling of otherness and the relentless pressure to conform that often confront Black and Brown individuals in predominantly white environments. Sam's genuine struggle to distance herself from her Indian heritage is depicted authentically: She surrounds herself with white friends, distancing herself from other South Asian peers, and deliberately speaks Hindi reminiscent of a parlor trick. It results in inevitable conflicts with her traditionalist mother — a recurring motif in the experiences of second-generation Americans. This conflict reaches its clearest expression with Sam’s jabbing question, “Why did you even come here, if you were just going to be another Desi housewife?”

Even so, the film unfortunately falls short in delivering a substantial exploration of these important subjects. While there is an exploration of the internal turmoil experienced by Sam, it regrettably neglects to delve into the external factors and repercussions of her choices, leaving a notable void in its narrative depth. Where is law enforcement following the murders and disappearances? And wouldn’t the mental toll of such crises prevent Sam from returning to her social circles?

Despite its narrative shortcomings, "It Lives Inside" should be commended for its effort to amplify an underrepresented culture and shed light on the complexities of cultural identity. Bishal Dutta's debut film introduces us to fresh faces and themes in the horror genre, but had it fully embraced the unique aspects of its story instead of relying too heavily on standard horror conventions — eerie opening scenes with mysterious objects, plot holes resulting from the protagonists' actions, and an open-ended sequel teased in the penultimate scene – the lessons of the work would have had greater effect on the viewer. While "It Lives Inside" offers a glimpse into the challenges of cultural assimilation, it ultimately leaves audiences wanting more in-depth exploration of its central themes.