Preston Barta // Features Editor
RAGING GRACE
Not rated, 99 min.
Director: Paris Zarcilla
Cast: Max Eigenmann, Jaeden Paige Boadilla, Leanne Best and David Hayman
What’s so riveting about horror films is tapping into that country’s nightmares. Of course, there’s Godzilla, an allegory for the atom bomb’s assault on Japan, and a slew of terrors from Tobe Hooper and George Romero that comment on war.
In Paris Zarcilla’s horror film Raging Grace, which premiered at the South by Southwest Film Festival and won top honors in the narrative feature competition, speaks to the terrors involved with being an immigrant living through a demeaning system. That struggle and constant paranoia — not knowing what tomorrow will bring and escaping your current circumstance’s horrors — are front and center in Zarcilla’s emotionally intelligent, elegantly produced chamber piece.
This is the first British-Filipino film ever to grace the silver screen, and that’s not the sole reason it’s special. Taking place largely in one location, Zarcilla allows atmosphere to be the MVP. Raging Grace brilliantly maintains a sense of unease by focusing on obscure household items, sound effects, camera framing and one of the best horror musical scores in some time. It’s quietly menacing, heartfelt and intense as hell.
The film centers on an undocumented Filipina immigrant and hardworking single mother, Joy (a very good Max Eigenmann), trying to secure a better life for herself and her mischievous daughter, Grace (Jaeden Paige Boadilla). Joy bounces from one cleaning and caretaking job to the next, not knowing where she and Grace will sleep. Fortunately, a position with a healthy paycheck may lead to a more promising future. However, the less fortunate side is that the house and person Joy will be taking care of might have a dark secret.
Raging Grace has the jump-scares and overall spookiness to conjure up feelings not so distant from Rosemary’s Baby. While it doesn’t deal with Satan or pregnancy, the mood is there, and that’s what shines the most alongside the committed performances. The film makes you feel comfortable, but the camera occasionally pulls in on something to disrupt that feeling. Zarcilla will zoom in on a lamp, picture, or item that feels off. The punctuation hits those moments when a hand pops out to grab a character, or the score picks up momentum. Nothing feels too incredibly loud about it. While, yes, the hand-grabbing bits kick up the ticker, they don’t feel cheap. It makes sense with one of the character’s behaviors. (I’m purposely vague here, but it’ll click once you see the film.)
On top of that, the characters have to go to some difficult places, especially Boadilla. It’s astonishing the performance she brings as the young girl. She does pranks around the house but also is an inquisitive person who makes the most out of her limitations (mostly living quietly while her mom takes care of the house). Grace is having to live in secret, and she wants to let the air out of the balloon. It leads to intense moments, like one terrific scene when Joy’s employer almost sniffs out Grace’s presence, and they have to work together with a series of misdirects. It’s great fun.
When it hits the fan in the final quarter, it’s one “Oh, no” after another. But even at its wildest, it doesn’t lose the reins to ridiculous territory. It reminded me a lot of the underappreciated haunted house movie, Marrowbone, starring George MacKay and Anya Taylor-Joy. Both films deal with entirely different material but hold onto a tone that never bucks off its viewer. It’s a sight to see, and it’s especially unique considering this film’s title.
Raging Grace seamlessly balances its unnerving beats with moving moments of drama. You can absorb the characters’ frustrations, anxieties and fears as each new obstacle arrives. Keep an eye on Zarcilla. More good work is undoubtedly ahead!
Grade: B
Raging Grace held its world premiere at the South by Southwest Film Festival on Mar. 12, with encore screenings on Mar. 14 and Mar. 17. Release information to be announced. Stay tuned!
