Laura Moss's reanimation reimagining, 'Birth/Rebirth,' tears through flesh and blood to get right to its brutal, beating heart. Our SundanceFilmFestival review:
A horror film that asks the big questions surrounding life and death with a sly grin while playing out largely within the small confines of a single apartment, the Shudder original Birth/Rebirth is a prime example of why the midnight programming at the Sundance Film Festival can hold some of the best new works.
The world then keeps moving but hers has come to a complete standstill as Moss captures the overwhelming way grief can take hold via revealing wide shots and painfully intimate close-ups. Reyes is similarly spectacular as she shows just how much this loss has upended Celie's life in even the smallest of moments. Making matters worse is that the grieving mother initially can’t claim her daughter’s body after it has seemed to disappear into thin air shortly after it had been sent down to Rose.
While initially shocked and surprised by what seems like it could be a second chance, Celia soon completely throws herself into caring for her newly resurrected daughter. She essentially moves in with Rose and the two form a working relationship that, while built around a rather horrifying job, also has its moments of humor. Moss and co-writer Brendan J.
With that being said, there is a sense that the film is oddly holding back at moments. Some of this comes down to how the narrative is confined largely to either the apartment or the hospital as the two characters must live a lonely life governed entirely by secrecy. The routine they fall into is the point, proving to be consistently eccentric and eerie in equal measure, though there still was a desire for a bit of something more to break up these patterns.
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