Vivian Kerr’s Séance is the best kind of movie: a film that starts as one thing, but then unfolds into something else. At first glance, it appears to be a dark, moody supernatural thriller. But it doesn’t take long to see that this is a very character-driven piece, and multi-hyphenate Kerr excels at creating four distinct (and distinctly disturbing) character journeys.
Of course, anyone watching for the scares will be satisfied. It’s literally a dark and stormy night, and there are also plenty of creepy shots of a doll that belonged to a dead child. That’s how the movie gets its title; Lillian (played by Kerr) has a séance to speak to her late daughter Hazel, whom she’s convinced still occupies her family home. But the supernatural scenes are a relatively small part of the story; they exist to enhance the character development, not drive or replace it. And that’s what helps to set Séance apart. There’s another, lesser version of this film that’s focused on scares and getting to some kind of “gotcha” at the end. This movie puts heart first and then gives the audience a mild heart attack.
Take away the Victorian-era setting and this movie would be a perfectly mainstream domestic drama. Emma (played by NCIS alum Scottie Thompson) is trying to get her marriage to Albert (Connor Paolo) off to a good start when they run into her first husband George (Jilon VanOver) and his new spouse Lillian. That’s because Kerr has written characters and dialogue that feel real; they could easily work in another time or place. The time period has contextual relevance, given the different views on both marriage and women’s societal roles in 1892, but it’s not a gimmick or a crutch for this story.
Saying much more about how the plot unfurls risks spoiling the joy of seeing the characters’ relationships evolve. The audience automatically knows that it’s going to be a disaster, but Séance is layered in adding pieces to the puzzle. It doesn’t just focus on one or two dynamics, like Emma and George; Kerr puts the characters together in every combination, and each scene has something to contribute to the viewers’ greater understanding. No one feels less than. Backstory comes out naturally instead of seeming like forced exposition. Of course there are plot twists, and the audience will likely not be able to stop their instinct to look for that “gotcha” moment that nearly every movie has, but the character development is so steady that it’s easy to forget you’re waiting for the wheels to fall off.
From an acting standpoint, the bulk of the work falls on Scottie Thompson, and anyone who mostly knows her from NCIS will love to see her in a role that’s very different. Emma presents as this strong, modern woman, but there’s also several vulnerable moments for her. Lillian’s instability gives Kerr a lot to play with, yet she deserves credit for not overdoing it; the character could easily have become a caricature. VanOver hits the right balance between being charming and making clear why George is an ex-husband. Paolo is the most underrated of the four, simply because Albert has no personal stake in anything beyond Emma. He’s the “nice guy” and that’s a pretty quiet role, but when he’s called upon to step forward, he does. The plus of Séance having such an isolated story is that viewers can focus in on the actors’ performances; even with the storm outside and the supposedly creepy happenings, there’s very little competing for attention.
The weaknesses in the film are negligible at best. Some audience members may not care for the ending, which lasts a beat longer than it needs to. And with the film mostly taking place at night in a time period where candles are a primary light source, there are certain moments that visually get lost in the darkness. But Kerr and cinematographer Johanna Coelho also avoid playing into the typical visual language of a thriller—aside from the opening, the movie doesn’t struggle with quick cuts or odd camera angles. Séance doesn’t have to visually reinforce that something strange is going on; that feeling gets created by the burgeoning dynamics between all four characters.
The movie is much more than it initially appears to be. It isn’t just a thriller, and audience members may truthfully find themselves thinking about more than just that time period. What’s for certain is that this is a wonderfully written, solidly acted piece that’s driven by character more than anything else. That makes it worth the watch for anyone who enjoys the fundamentals of great cinema.
For more information on Séance, visit the film’s official website and follow on Instagram. Photo Credits: Courtesy of Rue Dangeau.
Article content is (c)2020-2026 Brittany Frederick and may not be excerpted or reproduced without express written permission by the author. Follow me on Twitter at @BFTVTwtr and on Instagram at @BFTVGram. For story pitches, contact me at tvbrittanyf@yahoo.com.
