Clare and Anna are devoted sisters who live together. Clare suffers from fits and Anna cares for Clare between time at work and seeing her boyfriend. However when Clare begins to see ...
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Clare and Anna are devoted sisters who live together. Clare suffers from fits and Anna cares for Clare between time at work and seeing her boyfriend. However when Clare begins to see ghostly visions within the house Anna has difficulty believing her. As the visions worsen they test Clare's sanity, until one night she mistakenly attacks Anna - believing her to be one of the ghosts. Clare is hospitalised but the visions continue to haunt her. But Clare was never the true target, the spectres were after Anna and her unborn child all along. Now Clare must find out how to protect her sister, while locked up in a secure psychiatric facility.
With a brilliant central performance, The Heiress slowly builds its tension, taking its story in unexpected directions.
Director Chris Bell is just as confident flipping genre tropes as he is utilising traditional scare tactics to keep the viewer firmly behind a pillow.
The "person behind a closing door" scares are there, but they don't feel worn in the same way they do in other films as they are earnt through the ever thicker atmosphere the film churns up.
The Heiress also faces up to the traditional Church vs Science fight shared by many other suburban horror films, but tackles it with a fresh approach that feels more grounded in reality.
This juxtaposition is echoed throughout the film, a fight between the mundane and supernatural, be it parental bickering or vivid dreams.
But the bottom line with a horror film is "does it scare?"
Here The Heiress really delivers. It is one thing to make a decrepit mansion or a dark forest scary, but here the terror is in brightly lit fields and a detached new build.
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