In 1818, Mary Shelley gave birth to what is rightly considered one of the most influential gothic horror novels in history, Frankenstein. In parallel with the novel’s themes of technology, it seems fitting that they have made film adaptations as far back as 1910. With literally thousands of interpretations of the novel in the form of plays, television and film, it’s hard to really do anything new with this story. However, in her feature film debut, Birth/Rebirth, Laura Moss manages to do this in a way that is both refreshing and unnerving as hell.
A morgue tech named Rose (Marin Ireland) uses her job to conduct experiments with the goal to conquer death. Meanwhile, doctor and single mother Celie Morales (Judy Reyes) is caring for her daughter Lila (A.J. Lister). Lila is suddenly taken ill and later dies. However, in a strange twist, Lila is not dead and is being kept by Rose in her home. The reason? To experiment on. In a last-ditch effort to save her daughter, Celie teams with Rose to assist her.
Moss impresses with a first feature that feels more like a seasoned pro flexing their skills. The filmmaker takes the much-loved Shelley text, straps it to a gurney and injects it with equal parts drama, horror and nerve-shattering dread. From the outside, Birth/Rebirth is not going to be a crowd-pleasing horror movie. In fact, for a casual horror fan, this doesn’t have all the hallmarks of the genre. Though, for the more cerebral genre lovers, it’s a movie that gets under your skin. Moss does this by tapping into primal themes such as the fragility of life and the sometimes-dehumanizing reality of sickness and death. Hitting this point even further is the subtle theme of the broken American health care system, which is a nightmare all by itself. It blends these topics in a way that feels both very authentic and heartbreaking.
It poses the question, as a parent, how far would you go to save your child’s life? In the end, Celie trades her ethics as a doctor and as a person in order to play God. By the end, she is utterly hollowed out by the lengths she is willing to go. As a viewer, it’s sad and disturbing watching her journey unfold. There is excellently used dark humor throughout that doesn’t undercut the horror but complements it. For example, the pairing of the cold and detached Rose with the very grieving mother Celie makes for an interesting dynamic but also plays out like a fever dreamed Odd Couple scenario. The pair bicker like an old married couple, yet it’s over some wildly unethical and scary stuff like documenting how much extra treats you give to the roaming zombie pig. Yes, there is a re-animated pig.
Marin Ireland is absolutely stunning in the role of Rose. Ireland pours herself into what is pretty much a modern mad scientist archetype. Wisely, she isn’t over-the-top, screaming and foaming from the mouth. Ireland’s Rose is just off-putting and robotic, and if you were in a room with her, you would be instantly uncomfortable. The rare times she does convey human emotions, smiling for example, are somehow even more unsettling. It’s the kind of absorbing and all-consuming performance that would at least earn one an Oscar nomination, if the Academy weren’t snobs when it comes to genre offerings. Same goes for Judy Reyes, who always brings her A-game to whatever she’s in. Reyes is the perfect counter to Ireland’s Rose. Whilst her character is maybe not as flashy as Rose, Reyes is tasked with being the emotional centerpiece of the film and does so masterfully.
This is an impressive debut, but you do start to see the cracks as the film moves along. Certain narrative threads and themes could have used an overall tighter focus. Thankfully, this issue is not bad enough to totally derail its plot nor core conceit . However, it does feel like pieces of vital information are missing or quickly glossed over. For example, the aftermath of the most overtly horror tropey scene involving the zombie pig is barely acknowledged and quickly moved on from. It feels very much like the turning point in the film, where Lila is going to be our central horror villain. Yet, the filmmakers do nothing with that. It feels shocking for shock value sakes and not building up to something of substance.
Mirroring this is what may be considered the most disturbing scene, and it is one involving an expecting mother. The theme of healthcare as it relates to women is only ever-so lightly touched upon, but it feels like a huge, missed opportunity not to take that concept further. This goes for the social commentary which should have been focused on more. Despite some shortcomings, Birth/Rebirth is a stark and unflinching take on the Frankenstein mythos that will haunt you long after the credits roll.
Birth/Rebirth is currently playing in select theaters courtesy of Shudder and IFC Films. The film will be available to stream on Shudder on November 10.
[youtube https://www.youtube.com/watch?v=7iSSRWut50c]
Despite some shortcomings, Birth/Rebirth is a stark and unflinching take on the Frankenstein mythos that will haunt you long after the credits roll.
Big film nerd and TCM Obsessed. Author of The Ultimate Guide to Strange Cinema from Schiffer Publishing. Resume includes: AMC’s The Bite, Scream Magazine etc. Love all kinds of movies and television and have interviewed a wide range of actors, writers, producers and directors. I currently am a regular co-host on the podcast The Humanoids from the Deep Dive and have a second book in the works from Bear Manor.
