Staff Writer Elouise Davies closely examines the new film starring Hugh Grant and explores the themes of heresy and faith integral to its narrative.
A24’s ‘Heretic’ sees Hugh Grant taking on a new role as Mr Reed in this new psychological horror. Starring alongside Sophie Thatcher as Sister Barnes and Chloe East as Sister Paxton, ‘Heretic’ follows two Mormon missionaries sent to share their religion with the main character.
A refreshing role for Hugh Grant
Grant’s role departs from the persona established in romantic comedies, giving a chilling performance as the manipulative antagonist that traps two Mormon missionaries in his house. Known for his loveable roles in films such as ‘Bridget Jones’s Diary’, ‘Love Actually’ and ‘Notting Hill’, Grant showcases his evolution as an actor by weaponising the endearing characteristics that had previously elevated him to a charming heartthrob. He uses his charismatic nature as a tool of intimidation to trap not only Sisters Barnes and Paxton but also the audience who find themselves unable to leave the sinister atmosphere of his haunting performance.
Inescapable presence
The film’s focus on dialogue helps to elevate both Grant’s performance and the psychological tension developed throughout. Confined to a few rooms in Reed’s house with anticipation building from the beginning, conversations become the focal point of the film. Every choice of facial or verbal expression carries an undertone of threat and intimidation. Grant uses extended sequences of dialogue to dismantle the beliefs of both the Mormons and the audience, focusing on themes of heresy and questioning one’s religion. He is able to compel others into his line of thought, using conversation and debate as weapons.
The majority of the film takes place inside Reed’s house; there is no escape and the only choice is to move deeper within. The house itself appears to be somewhat of a labyrinth of rooms. It is not laid out in a typical fashion but instead comprises a series of narrow passages, stairways and rooms. Not only does it create a sense of disorientation but also forces the missionaries deeper into this maze with no hope for escape, thus resonating with the central theme of abandoning belief and submitting to Reed’s heresy.
How does the film portray heresy?
The movie shows heresy as a personal and intellectual movement and transforms those debates into a primary source of horror. Grant’s character is central in exploring these themes: educated in religion and philosophy, Reed personifies heresy as he questions traditional ideas of religious orthodoxy. He simultaneously seeks the one true religion and twists it into a weapon, forcing a moral debate. In this way, the film establishes a deep connection with the subversion of faith and morality.
Reed raises questions on the Mormon belief system focusing on a specific example. He cites numerous religious tales about pregnant virgins found throughout history, asking why the story of Mary and Jesus ended up so sacred. Reed engages with intellectual debates to support his argument while questioning the reasons behind certain iterations of an idea becoming inherently more important or popular than their origins. Because of this, heresy is portrayed not only as a form of nonconformity but also as an alluring force. He draws multiple parallels to modern-day examples, such as Radiohead’s ‘Creep’, the board game Monopoly and even the ‘Star Wars’ trilogy prequel. In doing so, he suggests that nothing is original but rather exists as an iteration of an already existing concept. Applying this idea to religions, he suggests each one is just a reworking of the others, relying on similar ideas adapted slightly differently across cultures.
Radiohead’s ‘Creep’ in the heretic debate
The song ‘Creep’ by Radiohead and Reed’s haunting rendition of it play a significant role in Reed’s argument about the existence of the one true religion. The chorus focuses on self-doubt, recognising one cannot avoid who they are. Through the lyrics ‘I’m a creep, I’m a weirdo’, Reed second-guesses both himself and the concept of religion. Moroever, the lyric ‘What the hell am I doin’ here?’, can be read as reflective of his questioning the existence of multiple iterations of faith. This is important as Reed uses the song to justify his view that most things are simply alternate versions of one original concept, asking whether they really ‘belong here’.
The song also includes the line ‘I wanna have control’, a notion integral to Reed’s character. Inviting the two Mormon missionaries to his house, he intends to manipulate them into following his line of belief. He is in charge of their journey, deciding where they go and whether they live or die. He also suggests religion itself is reliant on control – not only of the narrative, but also its followers to ensure their continued belief.
Belief versus disbelief
The arguments of belief and disbelief are essential in the debate on heresy as they arouse from the questioning of accepted religious ideas. By confronting the Sisters with his ideas, Reed also forces them to choose between belief or disbelief. He does so rather literally, making them decide between two doors upon which each word is inscribed, while insinuating that one of them could lead to their escape. This alternative forces the two characters to debate their beliefs and potentially engage in heresy – after all, one door represents continued trust in their faith, while the other represents trust in Reed over religion.
The film suggests the belief-disbelief dilemma is not a conscious choice but rather something taught, just as one learns about religion through trust in religious texts and sermons. A person must choose to believe their faith is the correct decision. ‘Heretic’ therefore, suggested that heresy lies in betrayal of one’s trust, as Sisters Barnes and Paxton confront and engage with the heretical Reed to survive not only physically but also spiritually.
Controlled descent into horror
Initially, Reed is portrayed as a caring and harmless man who simply wants to engage in an intellectual debate. However, his true purposes are soon revealed: Reed’s arguments become more invasive as he seeks not to debate with the Sisters but to dominate over them. The tension increases as his forceful ideas find their matches in the locked doors, dark passages, dimmed lights and the inescapable house. Not only are the audience locked into an intellectual conversation with Reed, but also his house and desire for control, stuck in a battle for survival.
Heresy exploration in other films
Themes of heresy, belief and disbelief have been explored throughout cinema history, reflecting societal fears and philosophical debates. A prime example is of course ‘The Exorcist’, which played an important role in developing apprehension around religious practices by juxtaposing ideas of science and faith through the battle against demonic possessions. Similarly to ‘Heretic’, it highlights an inherent aspect of religion terrifying enough to put one’s faith to trial. Ultimately, both films aim to leave their audiences questioning not only the idea of religion but also its scarier counterpart, which can be seen as an act of heresy in itself.
At the same time, ‘Heretic’ stands out as a defining film of its genre, combining intellectual debate with psychological dread and horror. Grant delivers a haunting performance, combining his natural charm with manipulative power to create a complex character. The integral themes of heresy and faith are used in the service of both theological debates and manipulation aimed at exercising total control. Alongside the use of dialogue to develop a thought-provoking narrative, ‘Heretic’ challenges audiences and their belief systems, forcing them to confront their own faith and fears in an unsettling yet unforgettable cinematic experience.
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