Following the death of her secretive mother, miniatures artist Annie Graham (Toni Collette) finds herself determined to provide a better upbringing for her children—16-year-old Peter (Alex Wolff) and 13-year-old Charlie (Milly Shapiro)—than she experienced as a child. With a loving husband, Steve (Gabriel Byrne), Annie intends to move forward; however, another devastating loss sends her mental state spiraling, as disturbing truths about her family history are gradually revealed. _Hereditary_ marks writer/director Ari Aster’s feature film debut, and it's worth noting that Lars Knudsen produced the film, having previously worked on _The VVitch: A New England Folktale_ (2015). The connection is significant because _Hereditary_ shares many similarities with Eggers’s film. Aspects such as mood, tone, theme, pacing, narrative structure and shot composition all echo _The VVitch_. Even the plot contains comparable elements; notably, the final scene mirrors _The VVitch_, featuring a close-up of a possessed character while someone speaks off camera. As with _The VVitch_, one’s enjoyment hinges on embracing the unfolding events or remaining detached, which could lead to unintentional humor. Beyond these observations, there is much to appreciate. Initially, it presents itself as a meticulously crafted and realistic exploration of the psychological deterioration that can accompany grief. Unusually for Hollywood productions, the film's trailer cleverly misleads viewers, suggesting the story centers on Annie’s mother’s death; however, this storyline is abandoned early on, with Charlie’s death becoming the central focus instead. The movie rewards attentive audiences by incorporating subtle foreshadowing of later events. A particularly effective example involves a creepy scene featuring a man standing in shadows—barely visible and smiling maniacally at Peter. This character appears earlier in the film during Charlie's wake, where he smiles unnaturally while watching her approach the coffin, a detail easily missed if one isn’t paying close attention. Toni Collette delivers an outstanding performance that recalls Shelley Duvall’s emotional outbursts in Stanley Kubrick’s _The Shining_ (1980). Her ability to convey complex internal states through subtle facial expressions is remarkable, especially during the film's conclusion when Annie shifts between her own personality and Paimon’s control; Collette’s acting communicates everything the audience needs to know. Joshua Rothkopf, in his _Time Out_ review, described it as a “new generation's” _Exorcist_. While this is an exaggeration—the film won't have the same cultural impact as Friedkin’s film and isn't as impressive as some of the best horror films of recent years like Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999)—it remains a well-made, unsettling work that dares to portray genuine grief on screen and features strong performances. It is certainly worth seeing.

Source on TMDB