California, 1892. Emma (Scottie Thompson) sits with her new husband Albert (Connor Paolo) on the beach as the waves crash on the shore. Albert, a romantic artist, is several years younger than Emma. The two are utterly shrouded in Victorian beachware when Emma’s ex husband George (Jilon VanOver) and his young new  wife Lillian (Vivian Kerr) happen to stroll by. As strange as the meeting is, former couple Emma and George play nice. In a burst of naiveté, Lillian insists that Emma and Albert come to her home for a visit that night. What transpires is an impressive chamber drama/mystery that transcends its indie roots to become something substantial. Vivian Kerr elegantly writes and directs Séance, an engrossing thriller that puts the actors front and center with the support of a talented crew to produce a rich, atmospheric film.

Despite the red flags, Emma agrees to visit the home of her ex husband George, and his wife Lillian, with her young husband Albert. Victorian pleasantries prevail initially. That is until young Lillian discloses that she is in mourning. George and Lillian have just lost a very young daughter to drowning. Riddled with guilt, Lillian is certain that her deceased daughter blames her for the tragedy. As Emma and Albert exchange side glances, Lillian suggests a séance to find closure. The séance yields disturbing results and the visiting couple decides it might be best to leave. That’s when the storm hits. Trapped by the weather, ensnared by social protocol, and hindered by what may or may not be a supernatural event, the four settle in for the night within the expansive mansion.

Does Lillian’s daughter seek revenge from the grave? Does Emma truly love her young husband Albert or was this all a scheme to reconnect with George? As the storm rages on outside revelations are had and discoveries are made. All of them under the cover of candlelit darkness and with the utmost intrigue.

Kudos to writer director Vivian Kerr for managing what had to be an indie-sized budget to produce a Merchant-Ivory thriller. There isn’t a single penny wasted here. The four leads pull carry the film with their convincing, mostly sympathetic performances. Thompson absolutely shines as the mature, yet unsure Emma. She maintains an authenticity that grounds the film, making her the default trusted narrator. Paolo does well as the innocent, well-meaning husband, but he is overshadowed by VanOver‘s seemingly sinister George. Finally we have to give credit to Kerr who writes, directs, and stars in the film.

No, the film is not perfect, there are few if any that are. While the movie is clever, Kerr can’t help but twist the knife at the end with an unnecessary stinger. Still there is much more good than bad here. Johanna Coelho‘s beautiful Cinematography shrouds the film in painterly darkness, keeping the focus on only what is seen by the dim light of a candle. Nina Fuller‘s costumes also rise to the occasion with their layers of repression.

Ultimately though praise must be given to Kerr who writes, directs, and stars in an atmospheric ghost story that recalls the likes of Ken Russell‘s Gothic or Jack Clayton‘s The Innocents. Turn off the lights, crank up the sound, and settle in for a creepy ghost story.