Every family has its secrets. And that couldn’t be truer for the Graham family. When the matriarch of the family passes away, they’re left in a state of emptiness. The house feels cold. There’s something missing. But a deeper evil begins to grow, and when Annie (Toni Collette) struggles to cope with her grief, she looks at new ways of coping. Unfortunately, however, there are some secrets best left hidden in the dark, and as she slowly begins to unravel the past, her family’s fate is put into question.
It’s a similar style of horror to the aforementioned indie darlings It Comes At Night and The Witch. Aster’s screenplay really takes its time in setting up this world and these characters, which feels gruellingly paced in the moment, but leads to a satisfyingly brutal finale that will shake you to your core. Its art-house ways may turn a lot of mainstream viewers off, but for those with patience and a keen eye, Hereditary will soon become one of your favourite modern horror films. I seriously cannot get over the shit that goes down in the final act. Not only is it nightmarish and surreal, but also it raises so many questions that leave this film open to wordy discussion.
Newcomer Milly Shapiro is chilling as the youngest daughter of Collette’s character. She’s a character of few words whose connection to her deceased grandma leads to a number of sequences that can only be described as revolting, but in the best way possible. Even in the scenes she’s not in, her presence is definitely felt, and there’s a scene in a car that’s so shocking and violent and out of the blue that it may prove too much for audiences. But hey, isn’t that the sign of an effective horror movie?
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