Here Before. 2021
Written and Directed by Stacey Gregg.
Starring Andrea Riseborough, Martin McCann, Jonjo O’Neill, Eileen O’Higgins, Louise Mathews, Niamh Dornan, and Lewis McAskie.
SYNOPSIS:
When a new family moves in next door to Laura and her family, their young daughter, Megan, quickly captivates her, stirring up painful memories of her own daughter, Josie, who died several years previously.
Here Before assuredly has a confident, atmospheric vision behind it from writer and director Stacey Gregg (making her feature-length narrative debut), but it also creates an impression as if Netflix’s current awards contender The Lost Daughter embraced more conventional psychological thrills, even if at the end of the day, it’s still its own brand of craziness. Both films also center on a female protagonist who becomes fixated on another family while boasting remarkable lead performances from modern greats.
In Belfast, Andrea Riseborough is Laura, a grieving mother struggling to keep her family of three together, especially so one the daughter of the new neighbors appears to share various connections to her deceased daughter. The possibilities are everything from reincarnation to the supernatural to Laura going insane, and, unsurprisingly, Andrea Riseborough calculates that uncertainty and potential descent into madness to riveting effect. Of all the great modern actresses, she’s one of the most underappreciated, a step right behind Rebecca Hall in going for broke while maintaining a strong sense of character and empathy.
Credit also goes to young Niamh Dornan for imbuing Megan with a combination of innocence and creepiness; you’re never quite sure what’s up with her just as much it’s unclear what Laura is experiencing. Laura does find support in her husband Brandan (Jonjo O’Neill), although they argue just as much as they converse, which further causes their son Tadhg (Lewis McAskie) to act out for attention. Such behaviors only amplified as Laura starts giving more attention to Megan, driving her home from school while also digging into the mystery at hand.
Without giving too much away, Megan knows about the life of Laura’s daughter, such as how she died, the playground they used to spend time at, and more. Naturally, as Laura becomes obsessed with understanding why, Megan’s parents increasingly become concerned and justifiably defensive (played by Eileen O’Higgins and Martin McCann). One of them (or perhaps both) could also be hiding their own secrets. That said, Here Before has one of those revelations that comes to mind while watching the movie, subsequently fading away because it’s probably a bit too ridiculous. The magic trick here is that Stacey Gregg believably pulls it off, as selfishness would pave the way to such carelessness and bold stupidity with the game being played here. Meanwhile, the psychological implications behind the ball are downright horrifying. It’s entirely nasty but grounded, making for a savage kick to the gut.
Here Before is also a mystery that barely cracks 80 minutes without credits, so it’s best to keep this review short. However, it should also be said that Stacey Gregg conjures up several striking shot compositions (courtesy of Chloë Thomson, whether it be from symmetrical framing or hazy flashbacks regarding Laura’s daughter) and an eerie score from Adam Janota Bzowski, punctuated by a memorable soundtrack. All of these components mesh well, but as the performance from Andrea Riseborough festers and bubbles into a restrained, sensible hysteria, the slow burn escalates. Again, the cause behind this is shattering. It’s worth returning to Here Before to analyze these characters further, as even if the climax is a bit rushed and unsatisfactory, there’s a lot here to absorb.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
