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Resurrection is a 2022 American psychological thriller film written and directed by Andrew Semans. It stars Rebecca Hall, Grace Kaufman, Michael Esper, and Tim Roth. The plot follows Margaret (Hall) as she tries to maintain control of her life when an abusive ex-boyfriend (Roth) re-appears in her vicinity. The film was shot in Albany, NY and Williamsburg, Brooklyn.
Resurrection premiered at the Sundance Film Festival on January 22, 2022, and was released in the United States on July 29, 2022, by IFC Films and Shudder. The film received generally positive reviews from critics, who commended Hall's performance in the lead role.
Principal photography took place on location in Albany, New York, in mid-2021 and later in Williamsburg, Brooklyn. It was then announced Rebecca Hall and Tim Roth were attached to star in the film.[6][7]
It premiered at the 2022 Sundance Film Festival on January 22, 2022. IFC Films then acquired the North American theatrical and VOD distribution rights to the film, with Shudder taking the first streaming window.[8] It was given a limited theatrical release on July 29, 2022, prior to being released on video on demand on August 5, 2022.[9]
On the review aggregator website Rotten Tomatoes, 81% of 189 critics' reviews are positive, with an average rating of 7/10. The website's consensus reads: "Uneven yet steadily absorbing, Resurrection benefits greatly from Rebecca Hall's outstanding work in the leading role."[10] Metacritic, which uses a weighted average, assigned the film a score of 70 out of 100, based on 28 critics, indicating "generally favorable" reviews.[11]
The film was screened as part of the American Independents Competition of the 46th Cleveland International Film Festival,[12][13] held from March 30 to April 9, 2022.[14] It also competed for Official Fantàstic Competition's Best Feature-Length Film at the 55th Sitges Film Festival in October 2022.[15][16]
At a conference, Margaret gets a side glimpse of a man in attendance. This, we find out, is David (Tim Roth), whom she hasn't seen in two decades. The film gives no backstory before David arrives (although the clues are there in Margaret's hyper-vigilant personality), and so all we see is Margaret suddenly fleeing the conference, in a total fight-or-flight panic. She runs all the way home and hides in the bathroom, crooking her elbow over her mouth to muffle her sobs. Eventually, Margaret provides the details in a seven-minute monologue to the hapless young co-worker seen in the cold open. The details are gnarly, to say the least. The relationship between David and the teenage Margaret was bad, sure, but it was bad in a sinister way, something far far out there at the limits of human experience. The word "sadist" may not have applied to the young co-worker's boyfriend, but it applies to David. (The monologue, and Hall's performance of it, called to mind Bibi Andersson's similar monologue about the boys on the beach in "Persona," not in the particulars, but in its personality-destabilizing revelations. Margaret has never told the story out loud before.)
Over the course of the film, Margaret's breakdown is charted visually through her appearance. Her clothes go from coolly elegant to wrinkled and ill-fitting. Her hair grows unkempt. Her skin shifts from radiant to ravaged. Some of this is under the direction of David, who demands she walk to work barefoot, concrete and city streets be damned.
The final sequence ushers us back to her and Abbie's apartment, where the girl's room is pristine white, its walls a bit bare as she calmly prepares to go off to college. The panic that wreaked havoc on their relationship is gone. Both women glow as Abbie visits her mother's bedroom, where Margaret sits smiling, holding her swaddled son. After sweetly thanking her mother, Abbie takes the baby from her mother, coos to him, and accepts him. They are the family that Margaret dreamed of. "I'm not scared anymore," Abbie assures Margaret. "You made everything okay, so I'm not scared." But before the film fades to black, Margaret's warm gaze shifts from her children to a mysterious mid-distance. Slowly, her smile wanes. Her eyes' glisten goes cold, a dread creeping in, subtly but unmistakably. She gasps. Then the movie ends.
Kristy Puchko is the Film Editor at Mashable. Based in New York City, she's an established film critic and entertainment reporter, who has traveled the world on assignment, covered a variety of film festivals, co-hosted movie-focused podcasts, interviewed a wide array of performers and filmmakers, and had her work published on RogerEbert.com, Vanity Fair, and The Guardian. A member of the Critics Choice Association and GALECA as well as a Top Critic on Rotten Tomatoes, Kristy's primary focus is movies. However, she's also been known to gush over television, podcasts, and board games. You can follow her on Twitter.
Troy L. Foreman - is the founder and Editor in Chief of the Pop Culture Principle. His prior experience has been freelancing for several television sites doing editorials and interviews. He's also been involved with the production of several independent films as an actor and producer. Most notably, the multi award winning documentary Millennium After The Millennium, proving to be instrumental in bringing the project participants together, following on from the Back To Frank Black Campaign.
Jason D. Morris is a producer, director and editor the bay area of California known for the feature films Story of Eva (2015), Betrayal (2013) Hell House (2008), Collapse (2016) Dark Winter (2018) and the multi award winning documentary Millennium After The Millennium. Claiming over twenty years experience in the industry, he has successfully ran a distribution company, helping other filmmakers to gain a platform, as well as working as a sought after editor for JoBlo Horror Network, among others.
The Ashton Falls Universe is comprised of a set of stories crossing several mediums, film, games, books and more. All of the stories take place in Ashton Falls and each will have familiar connections to each-other.
We celebrate the resurrection of Christ at Easter, the greatest moment in history, where death was defeated and the kingdom of God broke into our world. The motif of resurrection has played a prominent role in so many of our beloved narratives, from classic Greek tales and epics to the current comic book and superhero blockbusters.
And the proof: the price of medium format film is going down now, evidently things have leveled out, and dropped too. As far as 35mm goes it would appear demand is still spiking so I expect that to stay where it is because right now the supply is fixed. So I guess this would be the time to shoot more 120 film! Read the full story at Silvergrain Classics:
Parents need to know that Resurrection is a psychological thriller about a single mother (Rebecca Hall) who believes that her cruel, controlling ex-boyfriend (Tim Roth) has returned to harm her teenage daughter (Grace Kaufman). The death of an infant is central to the film, and this is likely to be an emotionally challenging film for anyone who's been affected by a similar tragedy. There are also extended, graphically bloody stabbing/cutting scenes and brief, disturbing images of a baby. Storytelling choices mean that viewers likely won't be sure whether what they're being told or are seeing is reliable, which may make it hard for teen viewers who need something more concrete to buy in. But it certainly offers a memorable example of how manipulation occurs within a relationship. Sex scenes have thrusting but no explicit nudity. A mother teaches her teen daughter how to drink whiskey. Language includes "s--t," "f--k," and more. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
Margaret and David aren't just characters, they're psychological profiles. And yet they're chillingly authentic. Their interactions aren't relatable and, at times, are actually so surreal that it may result in viewers scoffing, but Hall and Roth's performances are searingly sharp. Margaret is so "together" in every way, and David is so mild in his demeanor, that it undermines stereotypes about who establishes -- and who falls into -- deeply toxic relationships. Ultimately, Margaret's Achilles' heel is her fierce need to protect her daughter, and the film could serve as an odd but perhaps effective device for parents who want to help prevent older teens from falling into a controlling relationship.
Gibson is currently embarked on a press junket for his new movie Hacksaw Ridge, which is how he came to be on the Colbert show. Based on the true story of Desmond Doss, the first conscientious objector to win the Medal of Honor for non-combatant service during the Second World War, the film seems likely to rank among his best work to date. One thing is undeniable: Gibson knows a good story when he sees one, and he is capable of telling it well, too.
That is, until a mysterious man from her past named David (Roth) reappears, threatening to horrifically unspool the fabric of her carefully quilted life. We talked with Semans about his cinematic return, working with Rebecca Hall, and the inspirations for his film about the lengths a mother will go to in order to protect her child.
Directorially speaking, the biggest challenge was just practical challenges that anybody faces on a low-budget movie. We had four weeks to shoot the film, so trying to manage time and working within limited means while trying to get it all done at a level that we were satisfied with was extremely challenging. Thank God the cast was as wonderful and experienced as they were that we were able to get the movie made.
The Passion of the Christ 2 is confirmed and it is due to begin filming in spring 2023. Star Jim Caviezel confirmed the script had been completed in September 2020, and claimed it would be "the biggest film in world history." Gibson has worked with Randall Wallace on the script, with Wallace acknowledging interest in the sequel. "I always wanted to tell this story," Wallace confirmed back in 2016. "The Passion is the beginning and there's a lot more story to tell... The evangelical community considers The Passion the biggest movie ever out of Hollywood, and they kept telling us that they think a sequel will be even bigger."
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