Heel: Review of the Disturbing Psychological Thriller
The premise of Jan Komasa’s new thriller, “Heel,” is deliberately unsettling. A young man, Tommy (Anson Boon), known for reckless behavior documented on social media, is abducted and held captive by a seemingly ordinary couple, Chris (Stephen Graham) and Kathryn (Andrea Riseborough), in their isolated English estate. But the film quickly reveals itself to be less a straightforward kidnapping story and more a darkly comedic, psychologically complex exploration of family, control, and the search for redemption.
Komasa, the Polish filmmaker behind 2023’s “Anniversary,” doesn’t offer easy answers. Instead, he presents a fractured fable, steeped in a peculiar blend of terror and morality. The film’s strength lies in its ability to keep the audience perpetually off-balance, questioning the motivations of each character and the true nature of the situation unfolding within the walls of the estate. The screenplay, by Bartek Bartosik, is absurd yet potent, giving “Heel” a psychological weight that transcends its potentially exploitative premise.
The arrival of Katrina (Monika Frajczyk), a Macedonian refugee hired as a housekeeper, adds another layer of complexity. She serves as an outsider’s perspective, witnessing the bizarre dynamic between the family and their captive. Like the audience, Katrina is horrified by what she sees, but her own precarious situation – undocumented and reliant on Chris’s employment – limits her ability to intervene. She’s trapped in her own way, making her a compelling parallel to Tommy’s confinement.
What sets “Heel” apart is its unconventional approach to the captive narrative. Chris and Kathryn aren’t portrayed as sadistic tormentors. They genuinely believe they are helping Tommy, attempting to rehabilitate him through a system of reinforcement and reward. This creates a deeply unsettling dynamic, as Tommy begins to respond to their methods, participating in family meals, movie nights, and even a picnic. The film subtly questions the very definition of family, suggesting that it’s not necessarily defined by blood but by the bonds – however twisted – that people forge with one another.
The performances are uniformly excellent. Stephen Graham delivers a nuanced portrayal of Chris, a man driven by a quiet desperation and a rigid moral code. He’s a far cry from the emotionally raw father he played in “Adolescence,” showcasing his remarkable range. Andrea Riseborough is equally compelling as Kathryn, a fragile and haunted woman whose severity masks a deep-seated vulnerability. Anson Boon skillfully portrays Tommy’s transformation, revealing glimpses of vulnerability beneath his brash exterior. The supporting cast, including Kit Rakusen as their son Jonathan and Monika Frajczyk as Katrina, are equally pitch-perfect.
“Heel” draws comparisons to films like “A Clockwork Orange” and Pedro Almodóvar’s “The Skin I Live In,” but it also possesses a unique sensibility, reminiscent of the psychological thrillers of the 1960s, such as “The Servant” and “The Collector.” It’s a film that lingers in the mind long after the credits roll, prompting uncomfortable questions about societal decay, the nature of punishment, and the limits of human compassion.
While the film occasionally feels more like an exploration of ideas than a fully realized narrative, its elegant disturbia and boldness are undeniable. It’s a film that takes risks, challenging the audience to confront their own preconceptions about morality, family, and the possibility of redemption. “Heel” opens at Laemmle NoHo 7.