have cast melancholic yearning—either overtly or subtly—as a trauma that cracks open the door to the other side, as does Julius Avery’s, in which Russel Crowe’s man of the cloth battles an underworld king who’s taken control of a boy still grappling with his father’s car-accident death, which he witnessed first-hand.
In many of these efforts , bereaved individuals respond to tragedy by seeking out a supernatural means of communicating with—if not outright resurrecting—their loved ones. Ancient burial grounds, mediums and seances are all tools to be employed in service of reunion. In that regard too,is of a piece with its predecessors. Danny and Michael Philippou’s film concentrates on Mia , an Australian teenager who’s estranged from her father and trying to process her mother’s fatal sleeping-pill overdose.
That Mia will get more than she bargained for via this pastime is no surprise, but the Philippou brothers’ feature debut nonetheless mines her foolishness, and the anguish that instigated it, for solid frights. Central to’s success is its signature appendage, which is encased in plaster and covered in writing, and which perfectly encapsulates—visually, and functionally—the desire to reach out and grasp that which has been lost.
Just as important, however, is the directors’ use of said hand to put a new twist on traditional ritualistic-communion craziness. Employed as a late-night parlor trick fit for teens’ TikToks, the limb is an ideal vehicle for contemporary juvenile entertainment. Conjuring a believable atmosphere of high-school anxiety, peer pressure and pain, the film smartly posits the hand as irresistible precisely because of its viral-video appeal.
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