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Dive into the intricate themes and thought-provoking ending of 'Heretic.' From faith and manipulation to personal agency, we unravel what makes this psychological thriller stand out.
November 18, 2024
“Is there a God? Is there an afterlife? What happens when we die?” These existential questions form the backbone of Heretic (2024), a psychological thriller that challenges perceptions of faith, reality, and control. Directed by Scott Beck and Bryan Woods—the creative duo behind A Quiet Place—the film stars Hugh Grant in a role that subverts his quintessential charm for something far more sinister.
In this comprehensive analysis, we’ll delve into the intricate layers of Heretic, exploring its complex themes and unpacking its thought-provoking ending. Whether you’re a fan of psychological horror or seeking to understand the film’s deeper meanings, this guide is for you.
For an in-depth movie summary, engaging quizzes, and links to other movie information providers, visit What’s After the Movie’s dedicated page for Heretic.
Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) are young Mormon missionaries stationed in Colorado. Paxton is earnest and somewhat naive, while Barnes is seasoned and resolute. Tasked with spreading their faith, they embark on door-to-door visits, sharing the teachings of the Church of Jesus Christ of Latter-day Saints.
On a gloomy afternoon, the sisters arrive at the home of Mr. Reed (Hugh Grant), a seemingly amiable Englishman. He invites them inside, assuring them that his wife is baking a blueberry pie—a comforting gesture that eases their initial hesitation. According to their protocol, they shouldn’t enter a home without another woman present, but the prospect of warmth and hospitality sways them.
Once inside, Mr. Reed engages the sisters in a dialogue that begins innocuously but soon delves into deeper philosophical territory. He questions the nature of religion, drawing parallels between various faiths and suggesting that all religions are iterations of one another. He uses analogies from popular culture—like comparing religions to different versions of Monopoly or referencing Star Wars and Radiohead—to illustrate his points.
As the conversation progresses, subtle anomalies begin to unsettle the sisters:
These red flags hint that Mr. Reed might not be the congenial host he appears to be.
Mr. Reed presents the sisters with a perplexing choice between two doors labeled “Belief” and “Disbelief.” He challenges them to choose a path that aligns with their convictions. Sister Barnes, firm in her faith, insists on the “Belief” door, hoping their commitment will lead them to safety.
However, both doors lead to the same destination: a labyrinthine basement that feels more like a dungeon. It’s clear that Mr. Reed has engineered this scenario to trap them, turning their faith into a psychological weapon against them.
In the depths of the basement, the sisters meet a frail, sickly woman introduced by Mr. Reed as a prophet capable of performing miracles. He feeds her a slice of blueberry pie, nonchalantly revealing it’s poisoned. The woman collapses, and Mr. Reed calmly assures the horrified sisters that she will resurrect, offering insights from the afterlife.
An unexpected distraction occurs when a Mormon elder arrives at the house, searching for the missing sisters. Mr. Reed deftly dismisses him, and the opportunity for rescue slips away. Returning to the basement, the sisters witness the prophet’s seemingly miraculous resurrection. She describes ethereal visions but cryptically whispers, “It’s not real.”
Sister Barnes suspects foul play, theorizing that the resurrection was staged. She formulates a plan to confront Mr. Reed, but their attempt backfires disastrously. Anticipating their move, Mr. Reed slashes Barnes’s throat, leaving Paxton isolated and terrified.
He then tries to manipulate Paxton further, extracting a small metal rod from Barnes’s arm, claiming it’s a microchip that proves they live in a simulated reality. Paxton recognizes it as a birth control implant, exposing his lies.
Determined to uncover the truth, Paxton delves deeper into the basement. She discovers a hidden tunnel leading to a chamber filled with caged women, all emaciated and despondent. These are previous victims, ensnared by Mr. Reed’s twisted games.
Confronting Mr. Reed, Paxton accuses him of orchestrating everything to assert control over others. He reveals that his one true belief is in control as the ultimate religion. His elaborate traps and psychological manipulations are designed to break people’s spirits and bend them to his will.
A violent confrontation ensues. Paxton, using a letter opener previously hidden by Barnes, stabs Mr. Reed. Wounded but not defeated, he retaliates, stabbing Paxton in return. As he prepares to deliver the final blow, a gravely injured Barnes musters her remaining strength to strike Mr. Reed from behind, killing him.
Barnes succumbs to her wounds, and a battered Paxton escapes the nightmarish house, emerging into the cold embrace of the snowy landscape.
Heretic weaves a tapestry of themes that challenge the viewer’s perceptions and provoke introspection.
The film juxtaposes the steadfast faith of the sisters against Mr. Reed’s cynical skepticism. He systematically deconstructs their beliefs, using intellectual arguments and manipulative tactics to undermine their convictions.
Control emerges as a central theme, portrayed as a corrupting force that can become a belief system in its own right.
The film blurs the boundaries between what’s real and what’s fabricated, leaving characters and viewers alike questioning their perceptions.
The conclusion of Heretic is intentionally open-ended, prompting viewers to draw their own conclusions.
As Paxton escapes, a butterfly lands on her hand, only to vanish moments later. This imagery is rich with symbolic meaning:
Several interpretations can be drawn from the ending:
The film leaves viewers pondering:
Hugh Grant delivers a chilling performance, shedding his typical romantic-comedy persona for a role that is both intellectual and menacing. His portrayal adds depth to Mr. Reed, making him a complex antagonist whose charm masks a sinister agenda.
Chloe East embodies the innocence and vulnerability of Sister Paxton. Her journey from naivety to empowerment is compelling, capturing the character’s internal struggle and ultimate resilience.
Sophie Thatcher’s portrayal of Sister Barnes provides a strong counterbalance to Paxton. She is pragmatic and courageous, her skepticism serving as a catalyst for challenging Mr. Reed’s manipulations.
Heretic has generated significant discussion for its bold themes and unconventional narrative structure.
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Heretic (2024) is a film that doesn’t just entertain—it provokes, challenges, and lingers in the mind long after the credits roll. Its exploration of faith, control, and the blurred lines between reality and illusion invites viewers to reflect on their own beliefs and perceptions.
Whether you see the butterfly as a symbol of hope, a figment of a traumatized mind, or a message from beyond, one thing is certain: Heretic leaves a lasting impression, making it a significant entry in contemporary psychological thrillers.
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