Introduction
Matriarch is an upcoming horror film set to be released in 2025, crafted by the creative vision of writer and director Ben Steiner.
The film showcases the talents of distinguished actors Jemima Rooper and Kate Dickie, who are anticipated to infuse their characters with significant depth and intensity.
As the narrative unfolds, audiences can anticipate a chilling exploration of themes that resonate within the horror genre, all while being guided by Steiner’s unique storytelling approach.
The film aims to captivate viewers with its suspenseful atmosphere and compelling character dynamics, making it a highly anticipated addition to the landscape of American horror cinema.
Synopsis
At a critical juncture in her life, following a harrowing near-fatal overdose, a woman makes the difficult decision to return to her childhood home.
This journey is not merely a physical return but a profound confrontation with the deep-seated traumas that have haunted her since her youth.
As she steps back into the familiar yet painful environment of her past, she is compelled to face not only the memories that have shaped her but also the complex relationship with her mother, whose presence looms large in her recollections.
This encounter promises to be a pivotal moment of reckoning, where the interplay of unresolved emotions and the quest for healing may finally allow her to reclaim her narrative and seek a path toward recovery.
Cast
- Jemima Rooper as Laura
- Kate Dickie as Celia
- Sarah Paul as Abi
- Simon Meacock as Leonard
- Nick Haverson as Gerald
- Celinde Schoenmaker as Katrin
Reception
The film currently holds an impressive 85% rating on Rotten Tomatoes, derived from a total of 13 reviews, indicating a generally favorable reception among critics.
Meagan Navarro, writing for Bloody Disgusting, assigned the film a score of two and a half “skulls” out of five, suggesting a mixed response to its overall execution.
In contrast, Mary Beth McAndrews from Dread Central offered a more positive evaluation, granting the film three and a half stars out of five, which reflects a stronger appreciation for its merits.
This divergence in ratings highlights the varied perspectives within the critical community regarding the film’s quality and impact.
Ben Kenigsberg, writing for The New York Times, expressed disappointment in the film, stating that the resolution of Matriarch fails to deliver any genuine thrills or unexpected twists.
He criticized the finale for its dark and often indistinct visuals, describing it as a letdown both in terms of its visual presentation and its dramatic impact.
This assessment highlights a broader concern regarding the film’s ability to engage its audience effectively, suggesting that the culmination of the story does not live up to the expectations set throughout its narrative.
Noel Murray, writing for the Los Angeles Times, offered an enthusiastic critique of the film, highlighting its clever narrative technique.
He noted that the director, Steiner, skillfully navigates the tension between tangible threats posed by dark supernatural elements and the more subtle, yet profound, damage inflicted by a lifetime of poor parenting.
This duality not only enriches the storyline but also invites viewers to reflect on the complexities of personal trauma and its manifestations, making the film resonate on multiple levels.
Martin Unnsworth from Starburst provided an enthusiastic review of the film, describing it as a “slowly simmering powder keg” that artfully combines elements of relatable human drama with influences reminiscent of David Cronenberg, alongside a hint of the thematic intensity found in The Devils.
This characterization highlights the film’s ability to engage audiences on an emotional level while also delving into darker, more complex themes, creating a unique cinematic experience that resonates with viewers.
Unnsworth’s insights suggest that the film successfully balances its dramatic narrative with unsettling undertones, making it a noteworthy addition to contemporary cinema.
References
Ben Kenigsberg’s review of “Matriarch,” published in The New York Times on October 20, 2022, delves into the film’s exploration of maternal instincts and their complexities.
The film has garnered attention from various critics, including Martin Unsworth, who provided insights in Starburst, and Meagan Navarro, whose review on Bloody Disgusting highlights the ambitious nature of this folk horror narrative, particularly its examination of troubled family dynamics.
Additionally, Mary Beth McAndrews from Dread Central emphasized the film’s bold approach to the genre in her review dated October 25, 2022.
Meanwhile, Noel Murray’s piece in the Los Angeles Times raises thought-provoking questions about the nature of fear, contrasting supernatural elements with the more relatable terrors of poor parenting.
Collectively, these reviews reflect a growing interest in “Matriarch” and its thematic depth, as evidenced by its presence on platforms like Rotten Tomatoes, where it continues to be discussed and evaluated.
