‘RAGING GRACE’: Uncomfortable Truths And Genuine Scares
‘Raging Grace‘, the debut feature film by Paris Zarcilla, is a thought-provoking horror film that transcends its genre to deliver a powerful social commentary on immigration, exploitation, and the complexities of the immigrant experience.
Set in the UK, the film follows Joy, played with remarkable depth by Max Eigenmann, an undocumented Filipino immigrant working as a live-in caregiver for an elderly, bedridden man (David Hayman) in a dilapidated mansion managed by his niece Katherine (Leanne Best). What begins as a desperate attempt to secure a better future for her daughter Grace quickly spirals into a nightmarish ordeal as she uncovers the dark secrets lurking within the house.
Max Eigenmann in ‘Raging Grace’
Zarcilla succeeds in creating a suffocating atmosphere of dread, where every creak of the old house and every shadow hides potential danger as Joy struggles to navigate the challenges of her precarious situation. The mansion itself becomes a character, its gothic, crumbling walls serving as a metaphor for the decaying morals of those who reside within. The setting is claustrophobic, trapping both Joy and her daughter Grace in a tense, unrelenting grip.
At the heart of if all is Max Eigenmann’s outstanding performance as Joy, overwhelmed by the fear of potentially being discovered by immigration authorities. She delivers a raw, emotionally charged performance, embodying the vulnerability, strength, and resolve of a woman trapped in an impossible situation.
Leanne Best and Max Eigenmann in ‘Raging Grace’
Leanne Best is equally compelling as Katherine, Joy's cold and enigmatic employer. Katherine's calm exterior hides a deep-rooted cruelty, and Best masterfully conveys this underlying darkness.
What sets the film apart, however, is its willingness to engage with important social issues. Zarcilla uses the horror genre as a lens to explore the exploitation of undocumented workers, the dehumanisation of immigrants, and the brutal realities of systemic inequality. The film’s horror elements are not just for scares—they are deeply intertwined with the narrative’s exploration of these themes, making the fear and anxiety Joy experiences all the more resonant. The supernatural elements serve as a metaphor for the unseen, pervasive forces that oppress and marginalise people like Joy.
The irony of Joy’s name is especially striking, given that her life is far from joyful. She is constantly grappling with fear, exploitation, and survival, making her name a poignant reminder of what she lacks. Similarly, her daughter, named Grace, embodies the hope and innocence that Joy strives to protect. Yet the film's title, ‘Raging Grace’ suggests a fierce, turbulent struggle rather than the serenity and mercy that the name implies. The contrast between their names and their harsh reality highlights the clash between ideals and lived experiences.
Admittedly, the film has moments where the pacing feels uneven, particularly in the latter half. While the first two acts build tension effectively, the third act feels somewhat rushed, and certain plot elements could have been developed further to enhance the climax's impact. Despite these minor issues, ‘Raging Grace’ is a remarkable debut, as thought-provoking as it is terrifying.
AFTERTASTE
3.5