“A sadist never understands why someone doesn’t appreciate his sadism as much as he does.”

Andrew Semans’ Resurrection explores this exact concept from a line delivered by Rebecca Hall who plays Margaret, whose life with a successful career, a teenage daughter and a secret sexual relationship is turned upside down by a figure from her past, David Moore (Tim Roth).

David’s reappearance sets Margaret on a path to mental collapse, as the film explores themes of power and control, pride, gaslighting, motherhood and security.

We can’t say much more specifically about what happens in the script, as the actions David and Margaret take in their sick psychological game, as well as the nuanced details of their story, will leave you shaken by their first-hand experience. . What we can say is that Resurrection, Semans’ second feature, will have you wondering if what you see should be taken at face value, talk about it days later and think about it years from now.

Just like her work in the 2020 Sundance movie The night house, Hall skillfully conveys his character’s trauma and paranoia, particularly during a monologue that was only shot in two takes (the second having nothing to do with his first delivery). In other words, she’s incredibly good at playing someone who loses their shit. Semans recommends viewers “watch his eyebrows” because Hall says so much through his expressions. David is not the villainous accomplice one would expect, but, at first glance, an ordinary Joe whose wickedness slowly reveals itself.

Everything takes place in very simple settings, grounded in reality, coupled with sound that is quite the opposite, reinforcing the twisted plot that plays out on screen.

While the film was set during the COVID-19 pandemic, Seman told Q&A viewers that not much changed in the script, which already featured dialogue-heavy scenes with just a few characters. Resurrection was once on The blacklist, a list of unproduced but promising scenarios awaiting producers. “I just couldn’t stop reading it,” said Resurrection producer Alex Scharfman, on his first look at the script.


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