The Surrender cold opens with an abrupt, out of context dimly lit gory scene akin to Francisco De Goya’s Saturn Devouring his Son painting on acid. The movie then shifts quickly back to a mundane, albeit emotionally dark world where Barbara (Kate Burton) is caring for her terminally ill husband, Robert (Vaughn Armstrong). Their daughter Megan (Colby Minifie) has returned home to help care for her father too little, too late and driven by ulterior financial motives. After a brief period of caring for Robert, he dies asleep in bed next to them. 

 

What comes next is a premeditated ritual concocted by Barbara to bring her husband back from the dead, relying on a nameless figure who appears at the house to lead what is essentially a reverse exorcism. Megan is in disbelief but goes along with her mother’s initial pleas to participate, but when things get out of hand (pun activated after seeing film) it is too late to back out.

 

The Surrender brings a surface level creep factor with its subtle yet effective jump scares as well as a looming feeling of dread and helplessness that burrows under your skin throughout. The movie tackles themes of denial and coping with grief through a surreal lens into a dark underworld of lost souls. The film is elevated by committed performances from lead actresses Colby Minifie and Kate Burton, who play well off each other as a dysfunctional mother and daughter at a grief-stricken breaking point. Neil Sandilands plays a mysterious, nameless man of few words who is hired by Barbara to lead Robert’s resurrection ritual. Despite his limited screen time and dialogue, he in a commanding presence and brings a mysterious, threatening undertone to an increasingly unsettling atmosphere the film builds. 

 

The Surrender brings a chillingly fresh take on what has become a common horror trope of bringing back the dead and spirit summoning circles, by spotlighting familial relationships and the human struggle of coming to terms with mortality. That being said (in a Larry David voice), the brooding cinematography and performances lend well to an overtly familiar premise and make for a riveting watch, despite its lack of plot originality.