Andrew Semans
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Comparisons to a movie like 1981’s Possession are perhaps most apt both in the way it commits to its weirdness and the standout lead performance by Hall that feels reminiscent of Isabelle Adjani’s incredible tour-de-force.
It’s likely bad form to invoke the sanctity of Andrzej Zulawski’s Possession as comparison, but Andrew Semans’ outrageous psychological thriller Resurrection - this Sundance Film Festival’s resident fucked-up mind-scrambler - traffics in the same shades of noxious bonds, unraveling psyches, and subversive depravity.
While the fantastical, challenging ending of “Resurrection” will perplex some viewers, the film has psychologically surreal, ambiguous elements, a la Denis Villeneuve’s “Enemy,” that are good signposts to cling to when the film hits its manic, all-bets-are-off crescendo.