Aside from some admittedly freaky body horror, The Surrender falls into obscurity due to a flat script and faulty performances.
Writer and Director: Julia Max
Genre: Drama, Horror, Thriller, Body Horror
Run Time: 90′
SXSW World Premiere: March 9-14, 2025
U.S. Release Date: TBA
U.K. Release Date: TBA
The Surrender begins with a bang, as a grotesque opening shot attempts to set the tone for the rest of Julia Max’s debut feature. No spoilers here, but the shot ends with a truly twisted and effective image of body horror. It’s an immediate tone setter, but unfortunately that tone does not last. Despite some disturbing scenes along the way, The Surrender ultimately surrenders itself to clichéd characterization and dialogue, lacking the script and direction that makes other body horror films special.
If audiences are arriving at this film expecting the creepy images and body horror, perhaps some will leave satisfied. There are some truly effective scares here, and the design work on these more gruesome moments is without question the most impressive aspect of the film. And while these scenes are few and far between, they might work just well enough for hardcore horror buffs (which I am not).
On every other level besides the design work, The Surrender falls flat, beginning with a script that felt like it could’ve used a rewrite (or two). A scene that may actually carry some emotionality is usually undercut by a line delivery that derails the tension of the moment. This is true throughout the movie, but especially in the climax, when moments of reconciliation resort to a line reading that renders the scene ineffective. There are some good visual moments throughout the film, but they often hold less weight because of the script.
Because of either the script or some other issue, the central performances feel unbelievable. Again, much of this is due to the dialogue, but neither Colby Minifie (playing the daughter, Megan) nor Kate Burton (playing the mother, Barbara) are consistent enough for audiences to overlook the story flaws and focus solely on the performances. Minifie offers a couple of impressive emotional moments, but these once again are usually distilled due to a corny or clichéd line. Scenes between the two often operate like a play, leaving one to wonder if the whole movie is purposely staged or accidentally stilted.
These issues are regrettable, especially because it is easy to feel Max’s connection to the subject matter. The director has discussed the way she helped care for her stepfather, and the daily struggles that come with such a task. I do not doubt her attachment to this concept. There is a clear heart on display in the film, even if it doesn’t quite come together in a cohesive way.
Max has referenced Rose Glass and Brian de Palma as influences for The Surrender. One may be able to catch glimpses of Saint Maud or Carrie while watching this film, but Max’s debut lacks the complexity to be anything other than a subpar body horror debacle.
The Surrender: Movie Plot & Recap
Synopsis:
A mother-daughter relationship is put to the ultimate test when the mother begins planning to bring her recently deceased husband back from the dead.
Pros:
- The film does feature some impressive body horror, especially in the opening shot and in the second half.
Cons:
- Basic components of the film’s script simply do not work. The dialogue and relationship between the mother and daughter feels too stilted and disingenuous.
- Despite having strong feelings about the film’s theme, director Julia Max does not add enough nuance or intrigue into The Surrender’s conflict, making the ideas too surface-level.
The Surrender had its World Premiere at SXSW on March 9, 2025, with additional screenings scheduled for March 9-14. Read our SXSW reviews and our list of films to watch at SXSW 2025!
