A fraught mother-daughter relationship is put to a terrifying test when the family patriarch dies, and the grieving mother hires a mysterious stranger to bring her husband back from the dead. As the bizarre and brutal resurrection spirals out of control, both women must confront their differences as they fight for their lives – and for each other.
With The Surrender, Julia Max delivers a surprising horror film that blends the supernatural and the dramatic, centering its story around grief. It’s the kind of horror film you don’t often see.
Death Beyond Religions
The Surrender builds on the idea of bringing someone back from the dead. But unlike most films that use this theme, the notions of death or resurrection aren’t placed within a specific religion. Often, these stories are set within Catholic rites.
Julia Max instead chose not to ground the film’s resurrection ritual in a particular place or religion. She wanted it to feel like an ancient mystical practice from which all other religions and languages originated. This is why “The Man,” played by Neil Sandilands, speaks multiple languages throughout the movie. The main chant used is an authentic Sumerian chant, with certain words reversed.
Furthermore, the ritual sequence makes up two-thirds of the film. This means the ritual to bring the man back to life isn’t just an excuse to show a scary creature, but rather the very subject of the film. Let’s just say it’s surprising. The lengthy ritual also becomes an opportunity to explore grief and family relationships.
Since most of the film takes place during this ritual, the characters spend a great deal of time confined to a single room and barely leave the house. The director thus creates an effective locked-room scenario.
A Few Jumpscares and Oddities
We find the mother, Barbara (Kate Burton), and daughter, Megan (Colby Minifie), in this American-style horror story that relies on a few well-placed jump scares. But the director had the good sense not to stuff her film with them, which makes the two or three she does include genuinely effective.
That being said, it’s primarily the atmospheric work that makes the film so impactful. The sounds, the music, and especially the use of contrasts keep the viewer on the edge of their seat. The use of darkness and candles particularly succeeds in this task.
The character of “The Man,” though a bit cliché, gives the viewer a familiar foundation to lean on. His presence allows less adventurous viewers to still feel comfortable, while giving others the freedom to get lost in the ritual.
It should be added that the director isn’t afraid to show painful moments. But again, without overdoing it, each tougher moment hits its mark.
A Bit More…
While the script isn’t particularly deep, we end up with a work that has enough originality to stand out. And it does so without scaring off an audience simply looking to escape and unwind without having to think too hard.
And if we’re being completely honest, this film is easily enjoyable and delivers what it promises. For me, it’s a winner.
Plus, the entire film keeps you wondering if the characters will end up killing each other. Staying in that psychological in-between isn’t unpleasant at all. And it certainly allows you to watch this movie multiple times without getting bored.
