The heroine is a mother with two children. Her husband often beats and scolds her and a child, so she wants to break up with her husband and fight for custody of the child. The heroine took the child to temporarily live in a house next to the church, where the homicide controlled by bughuul took place. Here, her children are also entangled by the ghost children controlled by bughuul. They endlessly let the two children watch movies about family homicides, and urged the two children to kill their parents and brothers, respectively. One of the children took the initiative to accept the instigation of the ghost. The protagonist is the deputy sheriff in the first part. He was expelled for revealing the news to the writer and became a private detective by himself. He used the time when there was no case to investigate bughuul-related incidents. The actor wanted to burn down the house where the heroine lived temporarily to stop the bughuul's behavior, but because the heroine lived here, he couldn't proceed. The protagonist encountered bughuul's intimidation while investigating in the church, and then helped the heroine stop her husband's unreasonable troubles, and thus developed feelings with the heroine. But the next day the heroine still had to take the child back with her husband who was prepared. At the same time, the actor also got a lot of supernatural information about bughuul from a friend, and bughuul threatened them through a radio station. The protagonist immediately rushed back to the house to save others, and found that the mother and son had already left. In the heroine's house, one child is threatened by his father again, and the other child is ready to kill the other three in the family's outdoor activities tomorrow. The next day, a child felt dangerous in the field activities and sent a text message to the hero, who immediately rushed to the rescue. When the protagonist arrived, the couple and a child had been tied to three crosses by another child. The husband had been burned to death. The child was about to set others on fire. The protagonist drove him into him and rescued him. Next to the mother and son, the three ran to the heroine's home. The murderous child and other ghost child accomplices also chased home and searched for the three people everywhere. The murderous child found his mother and brother, and the actor also rushed to him and broke his camera, making him unable to complete the shooting task. The murdered child was caught by bughuul and gradually turned into skeleton dust. The curtain also started to burn, causing the house to burn. The hero and heroine escaped with the remaining child. They fled to the motel where the male protagonist stayed. The male protagonist entered the house to pack his things. The radio station suddenly appeared on the table and made a noise, and then the bughuul also appeared suddenly.
The second part is still bughuul appearing through images and then manipulating children to kill. This film made it clear that the souls of the children he captured were controlled by him and became his accomplices, using movies and creating family conflicts to lure other children to kill their families. It's just that the killing and shooting in this film failed, and in the end, bughuul had to do it himself. As for whether bughuul killed the male protagonist in the house and the mother and son of the female protagonist outside in the motel, the film did not give a clear explanation. Perhaps it was a suspense for the third part.
If there is a third part, this ending can give rise to other plots; if there is no third part, this ending can also imply that the protagonist and the child have been killed.
In these two films, bughuul has always liked the films taken with film cameras as a channel for him to enter and exit the human world. But as a monster that has existed in the Middle Ages, he relies on images as a channel, and his world is also in the images. Why do you have a soft spot for film movies that appeared in the 19th century? If he is conservative, he should show those children paintings; if he keeps pace with the times, he should show those children mobile videos. Is it because film films are more convenient to store than oil paintings? If this is the case, wouldn't it be easier to store a USB flash drive or SD card? Wouldn’t it be more convenient for those kids to shoot with DV or mobile phones? Or does the director and screenwriter think that a child holding a film camera is more mysterious? Or is it that those films are not only individual images, but can also become continuous and dynamic videos?
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