By Mark Hockley
Beatrice is a former cult member who reconnects with Abigail, after their leader is released from prison.
Why someone would give themselves up to emotional and psychological control is a fascinating question. Whether this feature is particularly informative as to the reasons, is debatable.
Shayn Herndon as cult guru, Grayson, the object of female adoration and devotion, is difficult to accept. He lacks the magnetism or persuasive pull one would expect from a figure capable of such influence. The women are all searching for belonging and meaning in their lives. But why they should want to be under this man’s dominion is baffling.
Not enough is done to provide insight into why Grayson is able to exert a hold on these people. Of course, as in so many similar setups, there is always a sexual element.
Thankfully, the film is anchored by strong performances. Olivia Taylor Dudley brings an intensity to Beatrice, while Riley Dandy portrays Abigail’s evolution with nuance. Beatrice clings to the notion of the family she lost, while Abigail begins to understand the damaging truth of the life they led. Their situation is complicated by the intimate relationship between the two women.
At its best, the film touches on the vulnerabilities of human nature, but it struggles with pacing and never quite persuades. Writer/director Cassie Keet has some success when focusing on Abigail’s journey from believer to denouncer. Everything is well framed and presented, with editing and cinematography above average. It’s the story that’s not impactful enough. While posing interesting questions, there are few meaningful answers.
I wish I had liked this more, as the power of the cult is a subject worth examining.
Although a very different kind of movie, The Heretic starring Hugh Grant, has a great deal more to offer when looking at the concept of control. I would suggest checking that out. As for Abigail Before Beatrice, I commend the effort, but ultimately I was left a little disappointed.
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