Notes
My quick rating - 5.2/10. Grief and resurrection make for a grim pairing in The Surrender, the first feature-length film from director Julia Max. With a haunting setup and minimalistic staging, this is a slow-burn drama wrapped in the skin of a horror film. It’s a bold, grief-drenched debut that leaves room for both emotional introspection and blood-soaked ritual. I am pleasantly surprised Shudder brought us something this grounded.
The story opens on the death of the family patriarch, and while the film hints early on at the supernatural turn it will eventually take, it’s in no hurry to get there. For nearly an hour, we follow mother Barbara (Kate Burton) and daughter Megan (Colby Minifie) as they spiral through sorrow, guilt, and unresolved trauma. Their relationship, thick with friction and raw emotion, is the film’s core. It's hard not to get worn down by it at times. There's a lot of yelling and bickering, especially from Megan, whose whiny tone starts to grate. Still, despite these irritations, Minifie delivers a compelling performance that oscillates between unhinged desperation and vulnerability.
When the resurrection ritual finally arrives, it doesn't disappoint. The blood seeping into the summoning circle is one of the film’s most visually striking moments, a gruesome payoff for the restrained atmosphere that precedes it. But true to form, The Surrender doesn’t let horror overshadow its drama. The ritual is intense, but it’s what it unearths emotionally that carries more weight. Things go sideways in a way that feels more tragic than terrifying, reinforcing the film’s central thesis: grief isn’t something you can reverse.
Most of the film unfolds in a few dark, claustrophobic spaces, with just four characters overall—including younger versions of Barbara and Megan, whose flashbacks help fill in some emotional blanks. The limited cast and setting put pressure on the script and performances to deliver, and for the most part, they do. Burton is reliably excellent, grounding Barbara with a quiet sorrow that plays well against Minifie’s intensity.
Given the film’s personal tone and emotional intimacy, it’s easy to speculate that writer-director Julia Max is working through something of her own here. That added layer makes the story feel more authentic, even if the characters themselves are not always easy to sit with.
While its horror elements are sparse and mostly saved for the climax, The Surrender succeeds as a brooding character study with a supernatural edge. It’s not for everyone, especially viewers hoping for a more traditional horror structure. Those willing to embrace the slow, grief-laden pacing will find a lot to appreciate in this bleak but thoughtful tale of loss and misguided hope.
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