At first glance The Taking of Deborah Logan appears to follow the fairly standard possession narratives which constitute something of a mainstay of found footage films these days; on closer inspection, however, the film diverges from the typically uninspired trope of demonic possession framed in the context of an exclusively Christian cosmology, to posit something more primordial and, potentially, Lovecraftian.
Also of note is the fact that the focal point of The Taking of Deborah Logan is an elderly woman suffering from a form of Alzheimer’s disease, such that the film makes some attempt to use possession as a metaphor for the erasure or displacement of self and memory which such terrible, neurolgically-degenerative diseases bring in their wake - an issue which one could, perhaps read as being Lovecaftian in and of itself. There is also a marvellously-horrifying moment towards the end of the film which affirms powerfully the monstrousand inhuman nature of whatever terrible fate is overtaking Deborah Logan - a spoiler of which can be seen below:
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