Humans will flourish or perish along with nature.
In good folk horror, stories about monsters aren't actually about monsters, they're about a world where monsters exist. This is a crucial distinction that Roh, and a great deal of eastern horror in general, understands. As Clive Barker once noted, horror in the west tends to be reactionary--the monster is an outsider, and it must be banished in order for the plot to resolve. Roh, like its folk horror predecessor The Wailing and its contemporary The Medium, has an entirely different message: Monstrous things are part of the world. You may or may not understand them. If you are smart, or good, you may or may not survive them. This is horror at its most upsetting and yet most banal; sometimes survival is about finding the means to feed yourself and your family in the Malaysian countryside, and sometime it's about hiding from the monsters in the countryside.