THE FRONT ROOM: Ambitious Horror with Mixed Results

Image courtesy of A24

By Shannon McGrew

Being a caregiver is a challenging task. You have to set aside your own needs for the person you’re caring for, and it’s often a thankless job. The stress on caregivers responsible for someone else’s well-being can feel incredibly isolating, especially since so few people want to talk about end-of-life care, even though we’ll all face it eventually. In THE FRONT ROOM, the debut film from the Eggers Brothers, twin brothers of The Lighthouse director Robert Eggers, we’re given an intimate look into the life of a woman caring for her mother-in-law as she spirals into a nightmarish descent that has her questioning what’s real and what’s not.

It’s been a hot minute since we’ve seen Brandy, and it’s so refreshing to witness her return not just to the big screen but to horror. In THE FRONT ROOM, she steps into the role of Belinda, a pregnant wife who welcomes her husband’s stepmom, Solange, into their home after her father-in-law's death. Although her husband, Norman, makes it clear from the start that this isn’t the best idea due to his mistreatment as a kid by his step-mom, Solange’s offer to cover their expenses changes their minds. With bills piling up and Belinda recently out of work, they have little choice but to let Solange move in.

Suffering from arthritis, Solange uses crutches to get around. When she arrives at the house, Belinda leads her to her new room, only for Solange to request the front room instead, claiming she can’t manage the stairs to the second floor. Though the room was initially meant to be the baby’s nursery, Belinda swallows her feelings and offers it to Solange as an act of goodwill. As the film progresses, Solange’s demands increase and Belinda slowly shrinks into herself, left to deal with the overbearing stepmom while her husband remains relatively absent. But just when Belinda seems to be losing herself, that’s when she discovers the strength to truly find herself. 

THE FRONT ROOM doesn’t just explore the haunting horror that unfolds with Solange’s arrival; it delves into the often unspoken horror of caring for someone dying. The Eggers Brothers don’t shy away from the uncomfortable reality of death - what’s often kept in the shadows. This becomes painfully clear when Solange starts showing signs of incontinence, eventually losing control over her bodily functions. While she seems embarrassed and vulnerable when her son tends to her, the dynamic shifts when Belinda is left alone to deal with it. Soon, Solange’s bodily functions - piss and sh*t, to be exact - become weapons she wields to torment Belinda further. 

Image courtesy of A24

Primarily set within the confines of the home, the film creates an overwhelming sense of claustrophobia that lingers throughout the runtime. Solange’s presence only amplifies Belinda’s suffocating situation, making it feel like the walls are closing in on her. The use of sound is crucial in heightening this unease, adding a layer of immersion that makes the viewing experience even more unsettling. From the sharp, exaggerated thud of Solange’s crutches on the hardwood floor to the grotesque sounds of bodily fluids, the film’s audio design plays a pivotal role in shaping the narrative. 

Kathryn Hunter is a force to be reckoned with. As Solange, she uses her physicality to bring this unhinged, evil stepmom to terrifying life. Hunter seamlessly switches between the harmless, set-in-her-ways grandmother and a manipulative monster intent on tearing the family apart for her own gain. Every moment she’s on screen is commanding, often shocking, and deeply uncomfortable to witness. Adding to the tension is the lack of support Belinda receives from her husband, Norman - a tired trope seen far too much in horror but one that fits the story here. Andrew Burnap’s performance as Norman is largely forgettable, though I suspect it’s intentional as his character seemed ill-equipped to confront his stepmother in any meaningful way. 

With Solange being an older woman from down South with a strong Christian faith, it was clear that religion and race would come into play, especially since Belinda and Norman are an interracial couple. While it’s not a significant focus of the film, the Eggers Brothers provided enough context to hint at Solange’s belief system. From a writing standpoint, however, this element felt a bit clunky. It didn’t feel integral to the story and came across more as a throwaway personality trait rather than a meaningful commentary on societal issues. That said, there’s one standout moment where Solange pretends to wear a KKK hood during a heated dinner table fight with Belinda, which triggers a pivotal shift in Brandy’s character. A lot could be unpacked about how race is handled in the film - it’s just unfortunate that it wasn’t explored more deeply. 

Overall, THE FRONT ROOM is an audacious debut from the Eggers Brothers. While it struggles to find a steady footing and doesn’t hit every note it aims for, credit must be given where it’s due - they really swing for the fences. Brandy shines as a woman slowly losing her grip on reality yet refusing to be completely overtaken by it, and by the film’s end, you’ll likely find yourself smiling. As for Kathryn Hunter, she delivers one of the year's best performances.

THE FRONT ROOM is now in theaters.