Fantasia International Film Festival (FIFF) – A stranger comes to town is one of the most basic plot devices because it’s effective and creates immediate tension. Someone shows up to disrupt the static setting. In the case of writer/director Mark O’Brien’s black and white film The Righteous, that stranger unleashes spine-tingling terror upon grieving parents.

Henry Czerny plays Frederick Mason, a man undergoing a crisis of faith and memory lapses because he’s besieged by grief due to the loss of his daughter. Czerny’s performance in this slow-burn horror drama is understated. His character rarely raises his voice, but the emotional turmoil is so evident, especially during heady philosophical and religious conversations he has with his friend/mentor Graham (Nigel Bennett). Their debates about the nature of sin, loss, and prayer are deeply engrossing. But keep in mind this is a film that’s mostly dialogue-driven, carried by the performances of its small cast. Whatever supernatural elements exist in the story are implied through dialogue and only seen in the closing minutes.

Frederick’s woes worsen when a stranger shows up, limping across his yard towards the doorway, claiming to have a sprained ankle. O’Brien (Ready or Not) plays Aaron, and his first moments on screen are mesmerizing. His character, who may be demonic, worms his way into Frederick’s life. He refuses to leave his home, and eventually, Ethel (Mimi Kuzyk), Frederick’s wife, takes a liking to him. He turns on the charm, and it quickly gives him command over the house.

Much of the narrative plays out as a battle between Aaron and Frederick, as they debate the nature of God and wrath. Whatever Aaron says may or may not be true. He claims to be Frederick’s son out of wedlock, a physical manifestation of his private sins. Yet, that story becomes increasingly shaky, especially in the last act, when Aaron showcases his power and won’t stop unless Frederick kills him. Will a man who was once so devoted to his faith kill? That’s what’s so evil about Aaron. He aims to push Frederick towards an even darker descent, pinpointing his psychological weaknesses and exploiting them. Much of the stranger’s intentions to harm lie in his facial expressions and the way the camera places him in the center of the frame, especially as his control grows.

Aaron reminds me of Arnold Friend in Joyce Carol Oates’ short story “A Good Man Is Hard to Find.” Both wear disguises, and both attack a home through charm, persistence, and psychological warfare.  In the case of Arnold, he preys on a young teen left alone, while Aaron wages war against a grieving father. Their sinister nature reveals itself once their costumes slip.

Overall, The Righteous requires patience since much of the tension lies in the dialogue, but the foreboding atmosphere and black and white become deeply engrossing and affecting.  The film packs a philosophical punch and has an arresting character-driven narrative. This is religious horror done right, thanks in large part to the strong cast who handles the heft of the dialogue so well.

The film will screen as part of the Fantasia International Film Festival, happening August 5-25.

8.5 Out of 10