Review of ‘Grace’s Possession’: First Person Exorcism

Grace’s possession

La posesión de Grace (Grace: The Possession) is a Canadian horror film directed by Jeff Chan (Code 8, Plus One). The director himself co-writes the script with Chris Pare and Peter Huang. The story centers on Grace, an 18-year-old student who moves to college without ever having tried alcohol, drugs, and sex. One day, something dark takes over her, and her attitude changes radically. It is starring Alexia Fast (The Ninth Passenger, Last Kind Words), Lin Shaye (The Grudge, Insidious: The Last Key), Daniel Arnold, Natasha Burnett, Madeleine Arthur (Color Out of Space, Snowpiercer: Rompenieves), Alexis Knapp, Margot Berner and Joel David Moore. The film was released in Spain directly on DVD on June 12, 2015 without going through theaters. You can see it in Netflix from August 1, 2021.

Terror in subjective camera

Grace’s possession is a modest Canadian horror film belonging to the subgenre of demonic possessions. The most (unique) original that it has is that it is shot almost entirely in a subjective way, that is, the camera is the eyes of the protagonist. This approach is a debtor of style found footage With the exception that here you do not need a character who is constantly recording everything that happens around him with a camera, something that is often difficult to justify in a credible way within the action of the films of that subgenre.

In any case, this resource or “trick” ends up also being a drag on the film’s narrative. What at first is shown as something curious and novel ends up ending our patience due to exhaustion. The experience cannot be more immersive simply by placing the viewer inside the main character, as if in a video game shooter In any case, what’s more, I think that after the first few minutes it ends up being so counterproductive that a greater distance is created with the suffering of the character. It is not so much a problem of staging if not of a script that justifies it.

Grace vs. Carrie

Grace’s possession tells the story of a young woman who, when she came of age, left town for the University to stay on campus. She is a naive and innocent girl who has never tried alcohol, drugs or sex. He comes from a very Catholic family and his grandmother puts him under strict control so that he does not go astray with the temptations that he may encounter in his new life. In fact, the mother died in childbirth and he considers her a sinner who succumbed to the lust of the flesh, something she cannot allow to happen to her granddaughter. As we can see, the relationship with the grandmother is quite reminiscent of Carrie (Brian De Palma, 1976), but here it is not even known to take advantage of that suffocating education based on corporal punishment and moralistic prohibitions.

The first half hour of the film takes place in the university environment with all the topics that may come to mind. These are moments that serve to describe the girl’s sexual awakening at the same time that strange events begin to happen to her that disturb her coexistence with her new friends. There is an interesting dilemma there since there is a question of whether the demonic possession is real or just a product of the girl’s disturbed mind. We are still in subjective camera vision so we will only see the face of the actress Alexia Fast, who plays Grace, when she bumps into her reflection in a mirror (something that happens regularly). Mirrors are also used to deliver a couple of manual scares by playing on image distortion.

The grandmother and the priests

It is surprising that after the first act the campus is left and (almost) none of the characters that until then we believed were going to be important in the story reappear. That rupture of space is a bit disconcerting and begins to show the lack of direction that the script possesses. Already in his hometown, he delves into his relationship with his grandmother and his misunderstood religiosity. Luckily, the wicked woman is played by Lin Shaye, the charismatic seer and parapsychologist of the saga Insidious, which provides a necessary plus so that we do not faint during the most soporific moments.

The story of Grace’s possession it will continue along quite absurd paths with the involvement of libidinous clerics and some arbitrary demonic appearances with the sole intention of animating the show. If you are looking to be scared, I am sorry to tell you that there is not a single moment in the film that is disturbing. And that the idea of ​​the subjective shot could have served to offer original images such as when an exorcism is practiced in the first person. Grace’s possession It is a Series B product that never takes off because of a poorly executed script that does not delve into anything it puts on the table. The only reason to make the effort to approach this film is to check the narrative possibilities that there was in using the subjective point of view in the sub-genre of possessions.


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Grace’s possession


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Review of ‘Grace’s Possession’: First Person Exorcism