Herege (EUA, 2024)
Original title: Heretic
Director: Scott Beck and Bryan Woods
Writer/Screenplay: Scott Beck and Bryan Woods
Main cast: Hugh Grant, Sophie Tucker, Chloe East, Elle Young, Julie Lynn Mortensen and Wendy Gorling
Runtime: 110 minutes (1°50’)
Warning: This review contains minor spoilers about the film’s plot, although it doesn’t specifically address its ending.
Just as Brazilians talk about Jehovah’s Witnesses knocking on their door, North Americans have their equivalent, called Mormons. They’re a Christian sub-branch that also has a habit of religious indoctrination, and in this work we follow two young women, Sister Barnes (Sophie Tatcher) and Sister Paxton (Chloe East), as they go to the house of a man, Mr. Reed (Hugh Grant), to talk about the word of Joseph Smith, the creator of the religion.
Since this is a horror film, it goes without saying that this doesn’t go smoothly. We quickly realize that Mr. Reed’s intentions aren’t as pure as one might initially think, and the girls are actually trapped in a sort of trap designed to test their faith. So, between the mental and physical challenges imposed by the villainous Mr. Reed, they must find a way to survive.
Creating great moments of tension in an unexpected plot, the film seems to delve into screenwriting lessons to create its own narrative. The use of classic elements such as Joseph Campbell’s idea of a monomyth being applied, or the situation of giving narrative clues and then rewards for the viewers capable of deciphering them bring to light an approximation of a classic structure. And it really ends up being a film with a lot of twists and turns, but that keeps returning to a main center of gravity, which is the relationship between the man and the young women.
It’s interesting that the film tries to update the behavior of youth without trying to treat the two girls in a completely naive way, despite their religious restrictions. Barnes, in particular, shows a good understanding of the world around her, and this ends up changing a dynamic that could have been very disproportionate. This adds more layers to the film.
The work also demonstrates a high level of aesthetic control in how to support the narrative, with the use of the art team and the cinematography to create the necessary setting. In the art, for example, essential elements can be mentioned, such as the miniatures used in the film and in the poster, which create the essential element of aesthetic appeal, as A24 loves to do. But in the same sense, other elements could be mentioned, such as the costumes, the candle used and even the Monopoly game, which will not be seen again with the same eyes.
The same happens with the photography, which plays with the idea of using low-angle and low-angle shots to give new dimensions to the characters on screen, indicating a dynamic that dialogues with the work as Mr. Reed becomes increasingly tyrannical. With this, the feeling of the film increases beyond what it’s saying to what we, as an audience, feel. With all these elements being placed, a secondary feeling is also created that the entire moment of building suspense works better than its resolution, since almost all the elements are already available to the viewer.
Hugh Grant is certainly the standout element of the work, and after a certain period without really remarkable characters, he returns to a prominent place with a cynical and very well planned performance. It’s terrifying at times to feel like you agree with the character, and at other times to realize his complete insanity, which even in the craziest moments is still self-contained.
A good film from a very popular production company, Herege will certainly find its audience among those who enjoy a well-thought-out thriller.
Translation by: Renata Torres
