A Woman’s Troubled Past Takes on a Second Life

Rebecca Hall in "Resurrection"
Photo Credit: RottenTomatoes.com

One of the most intriguing kinds of stories in film is when the past comes back to haunt the main character.  Such a narrative provides plenty of dramatic momentum that has us wondering what happened to the main character before the events of the movie and how they’re going to deal with the emotional challenge of having to face that pain once again.  The life they had before is returning to impact the life they have now.  This is something that’s explored in writer-director Michael Semans’ psychological-thriller, “Resurrection.” 

Margaret (Rebecca Hall) is a single, working mother living in Albany, New York, with her daughter, Abbie (Grace Kaufman).  When a dangerous man from her past, David (Tim Roth), reappears, Margaret has to do what she can to protect her daughter and herself.

Just as Hall accomplished last year in David Bruckner’s psychological-horror film, “The Night House,” she does tremendous work in displaying the intense grief that her character feels when confronted with trauma, particularly in the scene where she first spots David, showing a deep panic that gives us an idea of how much distress he caused her years ago.  Hall shows heartbreaking and hard-hitting work in how she elicits the psychological decay as Margaret becomes more and more unsettled following David’s return.

The hallmark of Hall’s performance comes almost halfway through the film, where her character discloses to a coworker in a shattering monologue, all done in a seven-minute single take that focuses on her as she explains what happened between her and David.  It’s a scene that captures a whole other depth of the power of Hall’s work in this film, with the camera slowly zooming in on her as Margaret goes further into the disturbing details of what happened.

Roth provides a deeply unsettling performance as the specter from Margaret’s past who threatens to uproot everything she’s built for herself.  Roth’s portrayal of David his character express a disquietingly friendly persona towards Margaret, making you feel as though you don’t quite know of what he might be capable.

Kaufman provides a terrific performance as Margaret’s daughter who has to witness her mother’s downward spiral firsthand.  Kaufman displays her character’s desire to get through to her mom, all while not quite knowing how to help her, and it’s work that’s just as aching to watch as Hall’s.

Although the climactic meet between Margaret and David becomes something that doesn’t quite fit the tone of the rest of the movie, Semans’ screenplay explores the theme of parents trying to protect their children, both in terms that are clear, and some that are subtle.  He gives us a view into Margaret’s life, showing us everything that she has at stake, as well as the disturbing details surrounding her dark connection to David that then provide us with an even deeper look into what Margaret has suffered and how that suffering is taking over her life once again.

Semans works with cinematographer Wyatt Garfield employs the occasional use of an out-of-focus background to highlight Margaret’s sense of disconnection from everything around her as her mind begins to just focus on David, while also utilizing a few slow zoom-in long takes for some of the film’s most emotional moments.  Through it all, with the help of Garfield’s camerawork and Hall’s powerful performance, Semans upholds a sense of dread that you won’t be able to shake throughout the movie.  Everyone involved gives it their all; and without a doubt, you’ll feel it as you watch.

Grade: A-