Editor’s Note: This article contains spoilers for “Bring Her Back.”
Even before their excellent horror debut “Talk To Me,” released in 2023, filmmakers Danny and Michael Philippou have always had a knack for unhinged creativity. From their Ronald McDonald revenge videos on their YouTube channel RackaRacka to their Versus action videos that pit popular media franchises against each other, the Philippou twins have always infused their signature style into well-known tropes. “Talk To Me” proved that this dramatic style could transcend the confines of YouTube and be effectively implemented into an eerie storyline. Wielding that same creative ambition, they blended horror with tragedy in “Bring Her Back,” which is releasing nationwide in theaters on May 30.
The film follows Andy (Billy Baratt) and his sister Piper (Sora Wong) as their lives get turned upside down following their father’s (Stephen Phillips) death. Amidst this traumatic event, Andy wishes to become Piper’s guardian and move with her into an apartment — a dream that’s quickly shattered due to them both being underage. After being thrown into foster care, they are adopted by Laura (Sally Hawkins), a seemingly trustworthy and well-known woman within the foster system. Despite Andy’s troubled childhood, Laura welcomes him, Piper and her other foster child Oliver (Jonah Wren Phillips) into her family. Quickly, this facade of normalcy disintegrates as Laura’s odd behavior and true intentions appear.
The horror revolving around traumatic bereavement isn’t wholly original, as this theme has appeared before in films like “Talk To Me,” “The Babadook” and “Hereditary.” However, the Philippou twins have mastered taking unoriginal themes and putting their own distinctive spin on it.
The film is set in the filmmakers’ hometown of Adelaide, Australia — a rarity within mainstream American media and defining influence over the story’s direction. A horror film set in South Australia wouldn’t be the same as one set in Irvine, for example. Rainfall associated with the South Australian climate is symbolic of the characters’ sorrow. The rain connects to the larger symbol of water within the film — a disturbing indicator of the distress and trauma that drives the plot. The film’s use of water subverts water’s typical symbolization of cleansing and richness. Water in the film feels more like blood with how deadly it is and is one of many inventive elements throughout the film.
On that note, the originality of the Philippou twins’ vision is also seen through other cinematic elements that create a refreshing elevated horror flick that’s actually scary. Several scenes crawl under your skin in a way most filmmakers dream of achieving. The film isn’t reliant on jumpscares but rather utilizes common horror techniques to slowly build towards a horrifying payoff. Like other RackaRacka projects, this payoff often involves top-notch practical blood effects that are both intricate and repulsive to look at. Similar to “Talk To Me,” these effects work in tandem with phenomenal sound design work to craft a supernatural setting that’s not just terrifying, but shockingly realistic as well.
Laura’s character might be the most disturbing part of the film. From the beginning, it’s clear there’s something wrong with her. You know she intends to harm these kids in some way, yet there are multiple points where her character manipulates us to think otherwise. After her introduction, she reveals that her child Cathy (Mischa Heywood) died after drowning in a swimming pool. Her grief and vulnerability evokes within us, the audience, the same sympathy the character’s have for her. She’s a grieving mom at her core, yet the intrinsic motivation this response instills within her is clearly dangerous: she will do anything to get her child back, even if it means harming others in the process.
The actors’ performance ensures these themes hit as hard as they should. Hawkins’ performance as Laura ranks among the best performances of the year so far. Her demented persona never feels cheaply executed. She isn’t just another insane horror villain but an empathetic and layered individual that’s fully fleshed out. She is deeply disturbing to watch because of the compassion one has for her troubled past.
Baratt, Wong and Wren Phillips also excel in acting as the child protagonists. Wong shines in particular, especially during more perilous moments. Like her character, Wong is fully blind in her left eye. This visual impairment is seamlessly integrated into the screenplay and becomes an integral part of Piper whilst also not defining the character. At her core, she’s a child navigating through grief and becoming aware of the harsh reality Andy has long shielded from her. The same could be said for Andy as well, who is transitioning to adulthood and learning how to leave his troublesome past behind him. Baratt and Wong’s nuanced performances convey these feelings in a grounded and impactful way that only further elevates the film.
By embracing this tragic backdrop, “Bring Her Back” excels as a devastating blend of terror and trauma that will leave even the strongest of film aficionados squeamish. The Philippous’ solid direction and screenplay, great performances, industry leading practical-effects work and excellent editing make this a truly unnerving feast to watch. The film’s only weakness is the often overbearing and generic orchestral score that takes away from an already immersive landscape and unclear lore. Despite its flaws, a film this dense and well-crafted warrants at least one rewatch to truly appreciate everything it has to offer and the Philippou twins as two of the best working indie filmmakers today.
Jacob Bernardino is an Arts & Entertainment Intern for the spring 2025 quarter. He can be reached at bernarj2@uci.edu.
Edited by Corinna Chin and Annabelle Aguirre