For almost the entire running time of The Curse of Tahu’a, I was looking at one person. Marie Kauffmann is essentially the only actor physically on screen for something close to 99% of the film. That is a gamble for any movie and an especially big one for a 90-minute independent horror film. It turns out to be the reason the whole thing works.
I saw it at its world premiere at Nightmares Film Festival on October 16, 2026, at Gateway Film Center in Columbus. Benjamin Busnel directs from a script he wrote with Myriam Dupuis. The setup is simple: an air traffic controller on a small Pacific island is working as a tropical storm moves in when an aircraft makes radio contact that her radar cannot detect. It’s the kind of festival discovery I hope people actually get the chance to see.
One Woman Carries It
Kauffmann plays Moea, and she has nobody on screen to hide behind. Her reactions are how the audience reads every development in the story. She carries that for the full 90 minutes and makes it work. That is an enormous amount of screen time to hand a single performer.
Moea isn’t cut off from other characters, since the radio keeps her in contact with other voices. Visually, though, the film is almost entirely Kauffmann, so the weight of every exchange sits on her side of the conversation. She handles it well enough that the absence of other faces never registers as a limitation. It’s a performance that holds up an entire film, and here that isn’t a figure of speech.
The Tower Is the Whole World
Almost everything happens inside the air traffic control tower. Busnel keeps the film in that room and trusts it to be enough. I’d put it among the better examples of bottle-style independent filmmaking I’ve seen. It never seems to wish it were somewhere else.
Those limits turn into strengths because the film builds its tension out of the situation rather than out of movement or spectacle. A storm is closing in, and a plane nobody can see is on the radio. The film lets that pressure develop at its own pace, and it held my attention the whole way. I never caught myself waiting for it to go somewhere bigger.
Patience, Then Payoff
This is a film that asks you to wait. Answers come gradually, and anyone expecting a scare every few minutes should adjust before the lights go down. I mean that as a description of how it’s built more than a warning. The good news is that the waiting gets paid back.
I’m not going to say anything about where the mystery goes, because the slow reveal is the experience. What I can say is that the revelations justify the time the film takes to reach them. Slow-burn horror lives or dies on whether the payoff is worth the patience. Here it is.
Folklore From the Island
The supernatural side of the film was a welcome surprise. It grows out of the Pacific island where the story is set, and it heads in a folkloric direction I’d love to see horror explore far more often. Don’t go in expecting French folklore just because the production is French. I’ll leave the specifics alone, both to protect the story and because the film tells them better than I could.
Horror circles the same handful of mythologies over and over, so a film that looks elsewhere gets my attention right away. Finding that in a single-location indie made it even more of a surprise. It’s the kind of choice I want to reward. I came out of the screening hoping more filmmakers take the hint.
The Verdict
The Curse of Tahu’a is an impressive piece of contained independent horror. It shows you don’t need elaborate locations or a big cast or constant spectacle to hold an audience. You need an actor who can command the screen, a mystery that knows when to give up its secrets and the confidence to let tension develop on its own schedule. Busnel’s film has all three.
Its restrictions sharpen the storytelling instead of thinning it out. Marie Kauffmann’s performance is the reason to seek it out, and the payoff is the reason you’ll be glad you stayed patient. Keep an eye out for wherever it plays next. Give it your attention and it gives plenty back.
