As Above, So Below

Under Paris, a seasoned expedition pushes into a long-forgotten network of bone-littered tunnels. The crew, led by Scarlett and accompanied by George, Benji, Papillon, and Souxie, seeks a rarely seen passage rumored to hide human remains and forgotten histories. What starts as a pulse quickening set piece soon turns tense as air grows thin, tight shafts tighten around them, and the line between reality and nightmare blurs. Tools fail, radios crackle, and the walls seem to whisper. The group fights fatigue and fear while the catacombs reveal dark secrets not meant to be unearthed, testing trust, nerve, and the will to press further. As their map proves unreliable, every turn promises danger. The pressure of time compounds the danger tonight.

Released in 2014, the film was directed by John Erick Dowdle with a screenplay by the Dowdle brothers, Drew and John. It is presented as a horror tale rather than an adaptation, crafted to resemble a claustrophobic found footage document.

Audiences found the film worldwide, grossing about 41.9 million dollars against a modest five million dollar budget. The strong box office performance underscored its appeal to horror fans seeking intensity and atmosphere. It performed well in several international markets too.

Even if not a cultural juggernaut, the film helped shape mainstream horror's appetite for claustrophobic settings. Its use of tight catacombs and first person footage created a portable terror that influenced later indie and studio projects seeking immediacy over spectacle. That approach still surfaces in underground thrillers today for many.

Critics generally praised the film for atmosphere and relentless pace, even as some noted derivative elements. Its themes orbit around ordeal and trust, highlighting how fear distorts judgment and how far people will go to survive when the ground itself seems to close in. Performances anchor the tension throughout too.