A mother’s grief and supernatural twists: ‘Here After’ review
A familiar yet unique take on loss and resurrection
Many films have explored the profound sorrow that follows the death of a child. Classics like “Pet Sematary” have delved into the eerie consequences of a child’s unnatural return from the dead. “Here After,” directed by Robert Salerno, attempts to blend horror with sentimental themes of sacrifice and redemption, reminiscent of faith-based narratives, but without fully committing to either genre.
A supernatural drama with a television feel
Despite the presence of Connie Britton, who plays an American expat in Rome, “Here After” feels more like a supernatural drama suited for television. The film, which Paramount is releasing in U.S. theaters and on digital platforms, lacks the suspense and depth needed to elevate its soapy focus on maternal suffering.
Salerno, known for producing films by auteurs like Charlie Kaufman and Alejandro G. Iñárritu, doesn’t seem to bring a personal touch or enthusiasm for the genre to this project. The polished yet formulaic script by Sarah Conradt fails to leave a lasting impression.
The plot: A mother’s desperate prayers answered
Britton’s character, Claire, teaches English literature at a Catholic school in Rome, where her teenage daughter Robin (Freya Hannan-Mills), a piano prodigy, is a student. They remain in Rome to stay close to Robin’s father, Luca (Giovanni Cirfiera), who has moved on with a new family. The cause of Claire and Luca’s divorce is hinted at in flashbacks but only fully revealed later in the film.
Robin suffers a serious accident while bicycling to a conservatory audition in a rainstorm and dies in the emergency room. Miraculously, she revives, seemingly in response to her mother’s prayers. However, Robin’s behavior changes drastically—she becomes hostile, uses foul language, and even her musical talent disappears. Claire begins to suspect that her daughter is possessed by an evil entity after visiting “the other side.”
A journey into the supernatural
Claire’s fears are dismissed by church authorities and Luca, but physician Ben (Tommaso Basili), who runs a support group for near-death survivors, is more receptive. Claire eventually reveals the circumstances of her failed marriage to Ben, suggesting that an angry spirit might be seeking revenge or reconciliation.
The film’s climax involves a prior fatal traffic accident, but the supernatural elements remain confusing and poorly explained. The story seems to suggest that Claire is being punished for breaking up her family, despite Luca’s shortcomings as a husband and father.
A missed opportunity for horror and depth
“Here After” uses horror tropes half-heartedly, leading to a muddled notion of forgiveness. The film hints at terrifying deeds from the resurrected Robin, but nothing significant happens, leaving Hannan-Mills to portray a series of unconvincing “demonic” expressions.
Britton, a talented actor, is given a reactive role, responding to underdeveloped and implausible situations. The competent supporting cast also struggles to bring credibility to the scenario. Salerno’s direction is efficient but lacks the idiosyncratic touch that could have elevated the film. The production design, cinematography, and score contribute more to the film’s aesthetic than its atmosphere.
Final thoughts
“Here After” is a smoothly crafted but uninspired film that fails to fully commit to its horror or sentimental elements. While it offers a unique take on loss and resurrection, it ultimately falls short of delivering a compelling and cohesive story. For those interested in exploring the film further, you can watch the trailer and find more information here.
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