Once one starts down the path of questioning Margaret’s reality, the narrative loses coherence. The one false note in this construct is the very tactile room key on the diner table. What we’re seeing isn’t “real,” except insofar as it’s “real” to Margaret. The final scene is not only beyond belief it’s filmed with just a touch of ghosting. When Gwyn, on hearing Margaret’s account of what happened to her years ago (a rare filmic moment when telling, rather than seeing, actually works) says that the story can’t be true, it’s a sign that maybe it isn’t. He’s never seen by anyone except Margaret, and he appears in some unlikely places. Haunting the narrative is the possibility that David, in his recent incarnation, is a phantom, a projection of Margaret’s no longer repressed guilt. They’re valid frameworks, but insufficient. Motherhood, a feminist perspective, a stalker from the past-each has a role in shaping one’s understanding of the film. Margaret’s marked physical decline parallels her psychological deterioration. Although she does her best to hold herself together, it becomes increasingly difficult. Except for Abbie and Peter (Michael Esper), a nice married man with whom she has occasional sex, she’s radically isolated.
She is rail-thin, obsessive-compulsive, a fast-if excessively determined and rigid-runner, an (overly) authoritative mentor/therapist to the intern Gwyn (Angela Wong Carbone), and a hovering, controlling mother to her almost 18-year-old daughter Abbie (Grace Kaufman, who does annoyance to perfection).
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“Psychological thriller” is not, yet even that term fails to capture the complexity of this intense drama.Īt the center of the film is Margaret, the consummate neurotic, brilliantly rendered by Rebecca Hall, who wrote (from Nella Larson’s book) and directed last year’s “ Passing.” Margaret has a managerial position in an anonymous corporation, which fits nicely with the high modernist, alienating government complex of Albany, New York, where the movie was filmed. Both will make a reasonable viewer uncomfortable, and the second will force some to turn away. There are only two scenes that qualify as horror one lasts a few seconds, the other, near the end of the film, about 5 minutes.
The horror content is not of the sort common to, say, 1980s slasher films, in which a pretty girl might be dispatched every 10 minutes. “Resurrection” has been widely described as a “psychological thriller” and a “horror” film.
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