{Movie Review} Here Before Haunts in Its Portrayal of Grief

The theme of grief is ever-present in horror films. It makes sense. The genre has endless possibilities and creative flexibility to explore the topic. Just think Hereditary, The Babadook, or The Changeling. While the topic is familiar and has been examined plenty of times, writer/director Stacey Gregg finds a new way to explore it in Here Before. While generally minimal and at times restrained, Here Before haunts in its portrayal of a mother’s anguish after losing her daughter in a car accident.

Indie horror darling Andrea Riseborough stars as Laura, the grieving mom of Josie, who died several years before the film opens. When a new family moves next door, Laura is convinced that the daughter, Megan (Niamh Dornan), may possibly be Josie reincarnated. For at least half the film, it skirts around the possibility that perhaps Laura is somehow Josie. Is there something supernatural at play? Is reincarnation possible? For a while, the film keeps its cards close to its chest, and it’s all the better for it. Here, Gregg’s script really shines. It doesn’t reveal all of its secrets until its last act. It’s a slow and worthy build.

Further, Laura has genuine reason to believe that something strange is going on with Megan. For instance, when her mom, Marie (Eileen O’Higgins), mentions strange writings in Megan’s school journal, Laura is reminded of memories that could have only belonged to Josie. The weird parallels increase as the movie progresses. The similarities eventually become too striking for it all just to be a coincidence.

All of the largely Irish cast generally gives strong performances. Higgins is great in her role, especially as Laura’s weird behavior ramps up, once she’s fully convinced that Megan is her deceased daughter somehow, someway. Dornan is excellent as well. Jonjo O’Neill does a good job, too, playing Laura’s husband, Brendan. He tries to ground Laura as her actions grow more extreme. It’s a tough role, but O’Neill pulls it off.

However, Riseborough really carries this film. Her layers of emotion, especially the anguish she portrays, are unmatched. She’s simply stellar. The film simply would not be as strong without her.

Laura’s grief is reinforced by the setting. Shot in the UK, the first half features so many exterior shots of a muddy yard and gloomy skies. It does much in establishing the tone early on. Additionally, Gregg is so good at building tension and doubt in the first half. As mentioned, the film toys with the idea of something otherworldly occurring. It’s so good in not revealing much of anything until the third act. It also keeps a firm grip on reality, preventing the film from going off the rails. The final 20-30 minutes, though, are quite a curveball. There are a few narrative details that are confusing, but otherwise, it works.

Overall, Here Before haunts because of Riseborough’s very human performance. The film’s portrayal of grief feels real and hits a lot of emotional notes. This is a restrained film in terms of scares, especially compared to some of Riseborough’s other work, namely Mandy. But it’s much more interested in exploring a grieving woman’s psyche. While parts needed a little more narrative clarity, so much of the film works well, carried by the performances.

Here Before premieres in theaters on February 11 and on VOD on February 15.