“Postmortem,” the latest psychological thriller from writer-director Andrés Beltrán (“Quicksand”), made its world premiere at Screamfest on Saturday. The film, about a grieving widow who turns to a cult’s ritual to bring back her late husband, follows a well-trodden storyline, but it isn’t without its merits.
The film stars Odette Annable (“Supergirl”) as Helena, a medical examiner who runs a small morgue along the California-Mexico border. Grieving and seemingly in denial about the sudden death of her husband six months prior, she finds a bizarre glimmer of hope when the bodies of an elderly death cult arrive at her facility. Discovering that one cult member survived with their resurrection ritual unfinished, Helena is tempted to attempt the dark rite herself to reunite with her late husband.
“Postmortem” is a slow burn. For much of its just-over-90-minute runtime, the film rests squarely on Annable, who performs solo, or among a room of corpses, in many scenes. Her depiction of a grieving widow is pained and desperate, yet subtly numb—creating a polarity in the performance that occasionally leaves the character feeling uneven.
The supporting cast holds its own, with Tony Revolori (“Scream VI”) emerging as the standout as Helena’s co-worker, Pablo. Opposite Annable, he balances the scene, counteracting Helena’s emotional numbness with enough energy and intrigue to move the narrative forward. One notable beat comes when he unveils findings from a cult text explaining the true intent behind their ritual.
What elevates “Postmortem” is its tense atmospheric build. Santiago Otoya’s cinematography and Felipe Linares’ score steadily crank up the dread as Helena comes to terms with the horrors she has unleashed. The film’s deliberate use of deep shadows to conceal and reveal key elements keeps you on edge and earns a few genuine scares late in the film.
The core themes of “Postmortem” aren’t new. Horror has explored grief, denial, and the inability to let go, notably in films like “Pet Sematary” and “An Unquiet Grave.” However, in its final moments, “Postmortem” offers a distinct take on moving past loss and finding purpose, delivering its resolution in a deeply tragic yet compelling way.
The film also carries subtle socio-political undertones. Set along the California-Mexico border, the narrative centers on figures connected to Mexico, with the cult crossing into California to carry out their ritual. In one scene, local lawman Ramon (Julio Cesar Cedillo, “Sicario”) dismisses the cult as a group that crossed simply to die—unlike him and Helena’s parents, who crossed to start a new life. Helena promptly reminds him that, regardless of their motives, they are still human beings. It’s a poignant moment that resonates strongly given the current climate around immigration.
The film’s main hurdle lies in its familiar themes and Helena’s emotional distance. While her numbness fits the character’s trauma, it occasionally creates a barrier to audience empathy. Fortunately, Annable’s overall commitment and Beltrán’s tight pacing keep the story engaging through to the final frame.
Overall, “Postmortem” is a solid psychological thriller that takes enough narrative risks, especially in its thematic resolution, to stand out. It delivers an intriguing conclusion that is sure to keep viewers talking long after the credits roll.
