Sometimes, to kill the monster, you need to unleash one of your own.
In Spirit in the Blood, we are introduced to Emerson (Summer H. Howell) as she and her parents move back to the secluded religious community where they once lived. As she attempts to fit in at her new school, Emerson finds a friend in Delilah (Sarah-Maxine Racicot), a young woman who sides with her against bullies. Things intensify though as Emerson comes in contact with a terrifying monster in the woods. Scared for her life, no one but Delilah believes her story and the two set out to fight the evil by embracing their own inner darkness.
Directed by Carly May Borgstrom, Spirit in the Blood is the very definition of the coming-of-rage story. In a subgenre that’s quickly gained popularity, this is the sort of film that reminds young women of the power that they have within themselves. Despite its interest in dabbling in ‘otherworldly’ entities, Blood keeps its filmmaking simple. This isn’t a film that wants to scare you with gore. Instead, it wants to scare you with reality. Blood understands the oppression that young girls experience and wants to help elevate them to fight their own monsters. Speaking to young women, Borgstrom’s script keeps the emphasis on her characters and their personal journeys in an effort to strengthen the hearts of her target audience. It’s powerful, progressive and, at times, poignant.
Admittedly, there are some similarities to Fincher’s classic Fight Club, albeit in an age-appropriate form. This may sound like a criticism to some but it is not. Like the journey of Club’s Narrator, this is a story of a person who finds themselves in fighting back. As these young women attempt to fight their monster, they tap into the most guttural parts of themselves in order to relearn how to interact with the world. Each scream and growl that they make feels meaningful and, at times, even terrifying. (This is particularly evident in a scene where one of them is placed under a box and forced to fight their way out.) There’s an intensity within these young women that empowers them. And that’s extremely necessary. After all, they’re not only fighting back against a monster.
They’re fighting against an entire system.
Living in a highly male-dominated society, these young women are constantly held down. The pastor speaks in terms of judgment. The ‘good men’ of the community are expected to deal with the supposed ‘beast’. (“It’s too dangerous for you,” the young women are told.) In this culture, the women are dismissed as inferior and barely listened to. Worse still, they’re expected to be okay with it (and some of them are).
But Borgstrom’s characters know that this isn’t enough. They understand that they need to come together and take responsibility for their lives. As Emerson and Delilah begin to evolve, they recognize how powerful they truly can become. However, fighting back can have its consequences. Without giving too much away, Emerson and Delilah also begin to see that unbridled rage isn’t always productive either.
It’s one thing to realize one’s inner strength. It’s another thing entirely to know when—and how—to release it in a healthy manner.
This sort of conversation can be difficult to navigate but Borgstrom does an excellent job of showing both empathy and encouragement for her characters. Every interaction with these young women feels like a stepping stone to something more than adulthood. They’re journeying towards a healthy sense of self.
If anything, it’s that emotional arc that’s the best aspect of Spirit in the Blood. Borgrstrom’s script works and the performances are solid, especially from such a young cast. But, ultimately, Blood’s invitation to young women to fight for their Spirit is what gives it its power. And invites others to claim theirs as well.
Spirit in the Blood is available in theatres now.
