As a cinephile who’s had my fair share of late-night movie marathons and countless hours discussing the finer points of cinema with fellow enthusiasts, I must say that “Here After” is a film that truly resonated with me. Its deep dive into spirituality and the supernatural felt reminiscent of Paul Schrader’s “Dominion: Prequel to The Exorcist,” a movie that Roger Ebert rightly praised for taking evil seriously in a time when horror movies were losing their edge.
I’ve always been fascinated by Roger Ebert’s review of a usually derided film, Paul Schrader’s Dominion: Prequel to The Exorcist (recut into the inferior The Exorcist: The Beginning for mainstream audiences). It’s strange to see such a lauded writer (Taxi Driver) and director (American Gigolo) take on the fifth entry in a horror franchise, but Schrader made the best Exorcist film since the original for a simple reason that Ebert nails. The critic says his film, “Does something risky and daring in this time of jaded horror movies: It takes evil seriously.” Dominion comes to mind after seeing the new horror drama Here After, and for good reason.
Evert carries on in his critique of Dominion, stating: “In this adaptation, there truly are sinister, satanic powers at play, as it revolves around a priest deeply traumatized by the Holocaust, questioning if he can ever trust in God’s mercy again… It also carries a deep spiritual resonance and depth, fearlessly tackling the idea that evil could be present in our world. This element gives Here After its significance and allure – it delves deeply into supernatural matters, both intellectually and emotionally. This film fully embraces religious symbolism, and this specificity amplifies its broader themes of guilt and absolution.” In essence, it can be considered a Catholic interpretation of Schrader’s Calvinist perspective.
Moving on from my lengthy discussion, let me tell you about a compact yet impactful film titled “Here After.” This movie delves deeply into its theme and gains strength from its sincerity. Connie Britton delivers an outstanding performance as Claire, a solitary American woman in Rome who strives to build a bright future for her daughter. Both characters bear the weight of a haunting incident from their past, and when Claire’s daughter miraculously recovers from a brush with death, these past wounds seem to resurface in chilling fashion. “Here After” may not be flawless, but like “Dominion,” it leaves an indelible impression due to its unwavering dedication to its spiritual theme.
A Woman Gets Her Daughter Back — Or Does She?
In the past, there was an event that affected both Claire and her daughter Robin (Freya Hannan-Mills), which is hinted at in Here After. This incident played a role in Claire’s divorce from Robin’s Italian father and Robin’s subsequent language problems. Although Robin isn’t biologically deaf or mute, she stopped talking at an early age and has not regained her ability to speak. Instead, she communicates using American Sign Language and is exceptionally skilled at playing the piano silently, aspiring to become a renowned musician. Claire and Robin share a strong bond; they reside together, with Claire serving as Robin’s teacher at school. They are individuals who have endured adversity but remain tenaciously independent of their past.
When Robin endures a terrible accident, it seems as though she’s on her way to heaven. The duration of time she spends clinically dead in the hospital’s small chapel, where Claire holds her rosary beads tightly and prays fervently before a large crucifix, has grown longer and longer. Religion offers comfort for Claire, and it appears to extend mercy here — not only does Robin miraculously recover (without any brain damage), but she regains her speech. Hallelujah.
It seems that the spirit which returned from beyond is more sinister, ruthless, and mysterious than the familiar robin bird that her parents know. Robin shows less enthusiasm for school and playing the piano; she becomes paler and paler, and utters terrible words; she becomes fixated on dead or dying birds. Claire tries religion as a means to rescue Robin, and she employs it again to deal with the girl’s unsettling demeanor. Is an exorcism necessary? Can a priest offer assistance? Is prayer effective?
A Great Connie Britton & Brilliant Catholic Iconography
In the movie “Here After,” the conclusion is best experienced without prior knowledge. To put it simply, the path forward lies within the journey itself. Claire becomes part of a captivating circle of individuals who’ve had near-death experiences or know someone who did. She forms an intellectual bond with the group’s leader, Dr. Ben, played by Tommaso Basili. This connection opens up discussions that are thought-provoking. The film’s initial act, while lengthy, sets the stage for these engaging dialogues to unfold.
As more of Claire’s past is revealed in Here After, the film becomes increasingly captivating, delving ever deeper into its spiritual investigation. Throughout, subtle religious references and symbolic cues serve to tie the narrative together, with the movie employing baptismal imagery, concepts of stigmata and crucifixion, Catholic ideas of repression and guilt, and profound themes of suffering and redemption. By the end, Connie Britton leaves no doubt in your mind that this is not merely a matter of life and death, but an exploration of the afterlife as well.
Robert Salerno Guides Here After to a Profoundly Emotional Ending
In his first full-length film, director Robert Salerno demonstrates exceptional skill, skillfully weaving profound themes, striking Roman landscapes captured by cinematographer Bartosz Nalazek, and a powerful soundtrack (a stunning composition by Fabrizio Mancinelli) to a climax that is nothing short of breathtaking, potentially stirring emotions and even prompting tears.
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2024-09-13 07:01