Heretic is full of surprises, and I had the privilege of attending the world premiere at the Toronto International Film Festival, where I also interviewed stars Hugh Grant and Sophie Thatcher. The film, directed by Scott Beck and Bryan Woods, exceeded expectations. Known for their writing on A Quiet Place, the duo’s direction had not previously matched their screenwriting talents—especially after the flop of 65. I approached this A24 production with some hesitation, but Heretic turned out to be a wildly entertaining and interesting film.
What was so unexpected about Heretic is how hilarious it is. It’s one of the funniest films I’ve seen at TIFF this year. The opening scene alone sets up two Mormon missionaries, played by Chloe East and Sophie Thatcher, in a humorous situation you wouldn’t expect. The use of humor, especially early on, puts the audience at ease, making the wild twists and turns later in the film more impactful.
Heretic isn’t your typical, trope-filled horror film. Yes, it includes dark hallways and locked doors, but the film does things that break the norms of the genre. Much of it is set in one location—a single room—and the design is gorgeous. They play with perspective, using wide lenses that distort the edges of the space, adding tension. The heart of the film lies in conversations between the three main characters: Chloe East, Sophie Thatcher, and a wild Hugh Grant, who delivers a career-defining performance.
During my interview, Hugh Grant described the project:
“I thought it was daring. It’s a very unusual horror film. It’s got elements of comedy. It’s quite daring in its themes, quite iconoclastic, and a very fucked-up lead character.”
This performance is unlike anything we’ve seen from Grant. He’s hilarious yet nuanced, creating a captivating presence throughout the film.
Thematically, the film is a fascinating exploration of religion, belief, and faith. Some may assume it’s anti-religion, but in my view, it simply raises questions about why we believe what we do. The whole premise revolves around belief versus disbelief. Both Chloe East and Sophie Thatcher, who play Mormon missionaries, grew up in the Mormon church, and in my conversation with Thatcher, she explained how her experiences informed her portrayal:
“I was tapping into what I felt when I was younger, before I left the church. I felt a little more shy, a little more reserved, like there was a wall, and that was just where I was at in my life at that point. It was pretty innate to tap into that.”
The chemistry between Thatcher and East is immediate, making them compelling performers alongside Grant. Though Grant’s performance stands out, both actresses hold their own.
The cinematography, by Chung-hoon Chung (known for Oldboy), is another highlight. In the Q&A after the premiere, Beck and Woods discussed how they maintained movement and variety within the confines of a single-room setting. There are plenty of tight close-ups, often from the perspective of Grant‘s character as he analyzes the missionaries, trying to figure out how he can manipulate them.
As the third act unfolds, it’s important to sit with the film and reflect on its final moments. My initial reaction was somewhat mixed, thinking certain plot points felt forced, but after giving it time to settle, it became clear that the ending was necessary. It solidifies the film’s thesis, and I’m glad they stuck with that vision.
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