Thale comes hyped as 'the new Troll Hunter' on the rather tenuous basis that both films are Norwegian, It's an understandable bit of hype, but it's staggeringly inaccurate and does the film no favours, given the expectations it sets up. Not that Thale is an inferior film – it's just a very different sort of thing.

Admittedly, there is one connection, in that both films deal with Norwegian folklore – Thale, like Troll Hunter, could be seen as a modern-day fairy tale in some senses, dealing as it does with the mythical Huldra – humanoid creatures who live in the woods, have psychic and healing powers and are deadly when roused. But the film is also about Frankensteinian mad science, power hungry corporations and redemption – quite a lot to pack into a film that is mostly very low key and deliberately minimal.

Elvis (Erlend Nervolde) and Leo (Jon Sigve Skard) are a seemingly mismatched pair of death-scene cleaners – Elvis, filling in to make some much-needed cash, is throwing up during the opening titles, while Leo seems entirely unflappable and unconcerned by the gore and stench around him. While cleaning a remote country house, the pair stumble upon a secret basement full of anatomical drawings and tape recordings – and a bathtub full of milky liquid from which emerges a naked girl, Thale (Silje Reinåmo), seemingly mute, terrified and aggressive. As the pair calm her down, they play back the tapes, which reveal that a doctor has been keeping her here since childhood after finding her in the woods – and then stealing her from some sort of institution – while carrying out genetic experiments on her. Unfortunately, her emergence has alerted others to her presence – other Huldra, and rather more dangerous people who want her back.

As Thale progresses, we learn more about all three characters – Elvis and Leo are far from your typical heroes, Leo in particular being laid back to the point of disinterest, but as the story develops, we discover the reason for his lack of interest in life. Elvis, who forms the closest bond to Thale (some of the back story is conveniently filled in through a psychic connection between the pair), his fatherly concern reflecting his apparently estranged relationship with his own daughter. After the collection of shrieking yahoos that seem to populate much American horror these days, they are a welcome change of pace, and present believable, sympathetic characters even with their awkward silences and non-communication. The ending, offering both men a new start, might not exactly be a surprise, but it's a satisfying one nevertheless.

Director (and more or less everything else) Aleksander Nordaas makes the most of his low budget, keeping the film claustrophobic – even the outdoor shots seem oppressive and sinister – and allows the story to develop as a character piece before providing a suitably violent finale. It's a skilfully handled story, and leaves enough untold for us to fill in the gaps ourselves. Only some ropey CGI, thankfully kept to a minimum, lets the visual feel of the story down.

Silje Reinåmo, who is possibly the most naked horror film female since Lifeforce's Matilda May, is an extraordinary presence – beautiful, sometimes sexy, sometimes innocent and terrified, sometimes savage, she brings her silent role to life, making Thale a sympathetic and tragic figure.

Thale is not the loud and action-packed film that Troll Hunter was, and nor should it be. But I suspect this is why the film has somehow not played the festival circuit and has had mixed reviews. It's just too damned subtle. Ignore the naysayers on this one – if you want a fairy tale horror film that has real heart and soul rather than flashy effects, you won't find one better than this.

DAVID FLINT

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