Let’s unbox the weirdest horror movie of 2022
Spoiler alert! The following post covers important plot points and the ending of the new “Resurrection” movie, so beware if you haven’t seen it yet.
“Resurrection” plays it pretty simply as a psychological thriller until it hits the baked bun.
No, for real, there’s a baby baked in a stovetop that’s sure to upset even the most horror-loving parents.
“If that doesn’t hit you in the pit of your stomach, we screwed up something,” writer-director Andrew Semans says of the scene that sets off an increasingly dark story leading to an unforgettable finale that he simply calls it “caesarean section”. .”
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“Resurrection” (in theaters and on Apple TV and other on-demand platforms) stars Rebecca Hall as Margaret, a single, working mother with an extremely orderly life who is very protective of her ready-to-be daughter. the university. But Margaret’s heart sinks one day when she sees David (Tim Roth), an older man from the traumatic past she left behind.
“All of this is happening at a time in Margaret’s life when she is particularly vulnerable in terms of motherhood and her abilities. It’s a situation where you’re forced to look back and ask yourself, ‘Did I do a good job as a parent? Have I prepared my child well for this life? “said Semans, who himself became a father for the first time three weeks ago.
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This charred baby dream is the stuff of nightmares
After Margaret spots David for the first time, she is at home and sees smoke coming out of the oven. She opens it to find a charred, lifeless newborn suddenly screaming, waking her from the dream – and leaving the audience shaken.
Semans wanted to move the narrative in “perhaps a more bizarre or surreal direction” as well as hint “at the content of Margaret’s fears (and) her dread”, he says. “It just made sense metaphorically. This is a baby who has been trapped much longer than he should have been inside.
He remembers filming the scene with a “very realistic prosthetic baby” which disturbed his assistant director, who had young children at home.
“Now, having a baby just in the next room, I might have the same reaction as him,” Semans says. “So in my next film there will be no depictions or descriptions of harm coming to infants, I promise you that.”
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Rebecca Hall’s beleaguered mother speaks her truth
But wait, it gets weirder. In an eight-minute monologue (where the camera never once moves away from Hall’s face), Margaret finally reveals her troubled backstory: She met David when she was his daughter’s age and they fell in love, but quickly became abusive and manipulative. Margaret became pregnant and gave birth to their son, Ben, but one day the child disappeared and David told her he had eaten it, forcing a distraught Margaret to flee. And now David is back in his life two decades later saying Ben is still in his womb crying for his mother.
The script for “Resurrection” was initially inspired by Semans’ “anticipated fears about parenthood”. by this type of abuse dynamic. “Themes of coercion and control, gaslighting and traumatic bonding all became a big part of it.”
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“Resurrection” ends with the mother of all delivery horrors
Margaret’s well-oiled life falls apart dramatically, leading to a fateful last encounter with David in his hotel room. He again states that Ben is in his stomach, leading to Margaret stabbing him in the abdomen. She doesn’t stop there, slicing him up, stripping his insides, and finding a little boy inside.
Semans describes this moment as “a cathartic, lyrical explosion where all the accumulated energy erupts and actually distorts the reality of the film”. He also loves that the scene “rips him out of his own genre” as “Resurrection” transitions from thriller to third-act supernatural horror.
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As if that wasn’t breathtaking enough, the film then cuts to Margaret in bed snuggling up to the baby. Her daughter walks in to say goodbye as she heads to school, and the camera zooms in closely on Margaret’s face as a look of joy gradually turns into a haunted facade before the credits roll.
“It’s the anxiety that everything won’t be as it seems,” says Semans of the film’s final frame. “Because it resolves in a way that gives her absolutely everything she wants, it’s a very questionable ending. This is something that seems unreliable (and) untrustworthy. And if what we see is not real, then the underlying reality is probably something much more tragic and terrible.
“But I didn’t want to portray that. I wanted Margaret’s dreams to come true.
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