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In my perspective, Julia Max’s first film, “The Surrender,” ventures into strange and unsettling realms. However, its foundation is grounded in an unfortunate yet frequently overlooked reality – caring for a loved one nearing their end, a storyline seldom depicted on the silver screen.

Currently available on Shudder, the chilling tale titled ‘The Surrender’ follows Megan (Colby Minifie) and her mother Barbara (Kate Burton), as they tend to their family’s dying patriarch. Following his demise, an idea grips Barbara – reviving her husband via a ritual that could potentially unleash unfathomable darkness.

Max understood that for any unexplainable events to seem believable, the family’s personalities had to be well-established first. Sadly, his suggestion encountered opposition right from the start.

Max shares that several producers suggested reducing the mother-daughter aspects to speed up the appearance of the scary elements. However, he tried this approach and found it unsuccessful. He created a version where the terrifying parts emerged quickly, but without properly developing and establishing the characters first, the audience didn’t care about them, making the entire narrative seem pointless.

Additionally, Max encountered opposition not just with regards to timing, but also when delving into the complex yet familiar bond shared by Megan and Barbara during their discussions.

Apart from ensuring a smooth flow of conversation, Max faced resistance as he explored the intricate yet understandable connection between Megan and Barbara’s relationship.

Initially, many individuals advised against focusing heavily on the mother-daughter relationship, believing it might not appeal to audiences. They essentially said, “It won’t sell.” However, this perspective was discouraging for her as she finds mother-daughter dynamics intriguing. She feels there’s a wealth of unexplored territory in these relationships within film and television that deserves more attention.

Thankfully, Max managed to assemble a team and secure a financial backer who shared her vision. This was beneficial not just for Max but also for the film itself. One of the most tense and captivating aspects of the movie is watching Megan’s emotional decline, her strained relationship with her mother, and the deterioration of her father’s health. The first act of the film takes its aesthetic from Chantal Akerman’s 1975 masterpiece “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles,” which evokes a sense of confinement or claustrophobia.

She expresses that the process of caring is incredibly tedious, draining, and repetitive. To convey this, she utilizes numerous static, expansive, fixed shots to create a sense of stagnation, enclosing this environment that seems like a confinement, making one feel entrapped within it.

Max recognizes that a slower-paced horror approach may not resonate with everyone, but the finished product – created alongside those who share her vision – most accurately reflects the nurturing spirit that initially inspired this tale.

She expresses her opinion that the situation is incredibly taxing on her. She finds the entire ordeal nerve-wracking, exhausting, and draining. However, she believes it’s one of those experiences that has a gradual, suspenseful horror to it – a type of tension that some people appreciate and even enjoy, while others may not find appealing. She acknowledges this is often a matter of personal taste… it’s simply a preference issue for her as well.

Filming a unique and personal vision like this can be difficult because loved ones may recognize aspects of themselves in the characters – for example, Megan’s mother is reflected in the portrayal of Barbara, as elements of their relationship are echoed on screen.

Max expresses, “It’s challenging indeed.” He elaborates that the initial drafts he writes are more like a personal exploration, helping him to shape his thoughts. Afterward, Ian McDonald, his husband who also acts as the producer, gets the first glimpse of all his scripts. Ian often gives him feedback, either approving or disapproving, sometimes advising him not to share certain pieces.

As the writing progresses, Max explains that the characters initially resemble him or people he knows, but they gradually transform into unique individuals distinct from their inspirations. In this specific script, it was crucial for Max’s mother to approve of it before they began marketing it because parts of it borrow aspects of their relationship dynamic.

In the process of directing, this difference between truth and imagination aids Max significantly because she’s not merely seeking imitations of real-life situations that are impossible to achieve.

She explains that it’s about understanding the characters are no longer her, instead belonging to the actors now. Once you cast them, trust becomes crucial. They become their characters, and they know them best. You can guide them, but if what they do or say doesn’t feel genuine to them, it won’t appear authentic on camera. It will seem insincere. Therefore, it’s essential to make adjustments and adapt to ensure the performance feels as real as possible for the actors.

Fortunately, so far, the audience has warmly accepted Max’s vision for “The Surrender”, as it was well-received at this year’s South by Southwest. The premiere also provided an opportunity for her to engage with other creators about staying faithful to their work, despite encountering people who may not fully grasp the vision.

She expresses how delightful it was for her to connect with fellow filmmakers in a similar genre field, admitting she hadn’t known much about it previously. She finds it refreshing to discuss shared experiences with others and learn that some of the challenges she encounters are quite common.

Watch the “Surrender” trailer below.

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2025-05-24 00:52