WATCH THE TRAILER HERE
First, the Recap:
Nothing counts so much as blood. Familial ties and all that is associated with them are supposed to yield opportunities to pass down lasting bonds, objects of value, or other elements that remind generation after generation of what is ideally a rich, positive history meant to carry forward for as long as possible. To have such cherished memories and good fortune is something we all might strive to attain in view of this concept. But, what if that which has continued through the ages isn’t remotely a blessing at all–but a curse? On the surface, Anna (Victoria U Bell) is a humble seamstress from Moldova seeking only to care for her beloved but fading Aunt Rosie (Vanessa Neff) while aiming to see some form of acceptance and more from a highfalutin group of people who don’t truly want her. But, far worse than this, Anna’s history is wrought with an ancient ongoing evil involving a lineage of witches, the spirit of one (Lorayn DeLuca) that will stop at nothing less than constant torment to ensure Anna carries on a dark and malicious heritage.
Next, my Mind:
Infernal inheritance, viscerally haunting visions, a relentlessly wicked otherworldly force, and a soul-churning battle to defy what could be unavoidable destiny all combine to provide the core focus of this 93-minute indie horror film from writer/director/producer Victoria U Bell, producers Charley McDougall and Jamie McLeod-Ross, co-producer Kimberly Hester Huffstetler, and executive producer Pat Moore. In a time when this genre of film, in my opinion anyway, finds a lot more room to struggle for originality and genuinely executed chills, it was at minimum refreshing to discover a project such as this that carries itself beautifully with not just the well-conceived atmosphere of eeriness and disquiet it engenders (along with requisite moments aplenty featuring disconcerting imagery and gore that DO work well here without seeming gratuitous), but ultimately delivers what I’ve always stated independent cinema excels at–being straightforward, human, and even in an effort such as this, relatable.
While the primary gist of the narrative is centered on one young woman’s harrowing conflict to ward off a seemingly inevitable future, face her past, and try to change her path while under the consistently agonizing and terrifying machinations of a witch whose objective is to ensure she does end up as she’s supposed to, there are so many additional thematic explorations in play here that all weave into the tale without being frivolous or “fluff”. Rather, we are entreated to the notions of social/class status and discrimination, finding refuge in what’s comfortable for us instead of tackling issues we are encountering, rash choices, domestic abuse, being manipulated, the burdens of lies upon lies and the secrets we think will stay buried that won’t, infidelity, pure jealousy, envy, and greed, plus ascertaining what’s real vs. illusion whether figurative or, in this case, literal, while simply learning to conquer our own innate fears and insecurities and at least TRY to stand up to what is harrying us. Easier said than done in this scenario, but you get the point!
These were all addressed in some form and are intricately wrapped into the grander tale of affliction and persecution being presented, and it all lends a much more grounded and, honestly, uncomplicated look into the idea of familial legacy and contending with self-identity and mental well-being while still providing us the horror components to keep things interesting along the way. I likewise believe at times that in order to truly grasp or have a better sense OF the terror being portrayed, you almost must envision what it would actually FEEL like to BE in the circumstances depicted, which here would be quite unnerving. Did this film overall elicit the same magnitude of absolute ominous menace that something like “Hereditary” or the first “Conjuring” had, no. BUT, don’t let that dissuade you from checking this effort out, as again, it has it’s own indie level brand of well-done horror that offers everything you want while allowing the story to transcend beyond the basic horror film factors and aim for that more grounded format, even in this context.
Also, the film’s finale is one that assuredly puts shocking twists on things given what we’ve already taken in up to that point. Smartly written. Bell must plumb the depths of emotional turmoil on multiple levels and does so with credible intensity that COULD have bordered on overacting at times had the actress not mostly orchestrated her instances of fiery resolve or utter terror and deftly reined it in through her role as Anna, a soft-spoken, unpretentious woman caught up in a dire situation while searching for any semblance of normalcy amongst people above her station. Only wishing to BE who she is while no longer suffering as a prisoner to her family’s pitch black past, the constant appearing of the one nightmare she desperately tries to escape from slowly breaks her down, even when other pursuits she desires in life take shape but still reflect decisions made by a mind in disarray. Whether she can weather the supernatural AND real-life storms she’s in remains to be seen, even as her bleak future stares at her in the darkness, waking or sleeping. It’s a solid performance throughout by Bell whose beauty and fervor just endear you to the character more and more as Anna’s beleaguering plight keeps getting worse and your empathy rises.
Neff as Aunt Rosie is a study in what I always love about realistic characters–understatement–and the actress does a wonderful job at guiding the character through the tumult in a manner that completely befits the narrative, creating that last bastion of sanity Anna is so greatly hanging onto while trying to protect Anna to the limited best of her ability from the evil that’s after her. DeLuca shines as the Witch, a malevolent spirit that badgers and terrorizes Anna to the point of hopelessness with no other purpose than to ensure a legacy is passed as it should be. DeLuca embodies this specter of sinister intent with an energetic passion that provides exactly what we need here. Primary supporting roles arrive first from Ben Holtzmuller as Nicholas, a man of means who’s married to a friend of Anna’s and whose eyes might just be wandering a bit in Anna’s direction. Next, Deanna Rashell is Chloe, Anna’s high society “friend” who at least makes some efforts to “improve” or “help” Anna’s life along the way, unaware of other events transpiring.
Norwood Ezzell is Dustin, Chloe’s impaired cousin who also has affection towards Anna, for good or ill. Rachel Petsiavas and Ryan Kailbourne are Anna’s parents Mary and George seen in flashback but shed a light on Anna’s past home life as a child. Julian Brittano is Martin, a man Chloe deems as a potential suitor for Anna who might end up in a much more compromising position than he expects. Additional supporting appearances are many, and include characters played by Beth Felice, Kate Dailey, Lacey Caroline, Yuliya Kraftchick, Allee Fields, Adalyn Fields, Yuliya Babenko, Keya Hamilton, Cameran Bellamy, Audrey Gwillim, Sarah Lapointe, and Tisa Britton along with a HOST of others, to all of whom I say “Bravo!” to because I firmly subscriber to the idea of “NO small parts” since it takes EVERYONE involved to make a film what it becomes. I may not mention you by name, but know you’re also very much acknowledged and appreciated for the roles you played.
So, in total, “Heir of the Witch” is a wholly satisfying excursion into the world of horror that also relies on viewers being willing to go beyond the surface and delve into the myriad of imperative themes found deeper within in order to paint a much fuller portrait of anxieties manifested and the demons we need to conquer, in whatever form they might take, lest they overwhelm us and lead us down a road to ruin even in our quest to be liberated from a perceived or guaranteed fate.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
