Medical horror previously existed as a niche sub-genre of film that often focused on the survival of the human race through a race against time to prevent the spread or by finding a cure. Now, through the shared experience of the Covid-19 pandemic, viewers view these films through a new lens. Ultimately, the themes may be the same, but filmmakers no longer need to spend time on complicated exposition or justifications. Such is the case with New Life, a surprisingly intimate and brisk depiction of humanity and survival. Despite some familiar tropes, the film feels fresh and benefits from as little foreknowledge as possible.
The film begins with a bloody woman named Jess (Hayley Erin) fleeing from unknown assailants. As she evades those chasing her, fixer Elsa (Sonya Walger) gets the call to track down the elusive Jess. It becomes apparent that Jess is unaware of what she is running, and Elsa holds her own secrets as well. This cat and mouse continues through the forested northern United States as both women seek a path of survival.
New Life serves as a strong debut from director John Rosman, who also penned the script. Demonstrating sensibilities that many horror directors ignore, Rosman crafts a tense and intimate feature that terrifies and engrosses. By focusing closely on Jess and Elsa, the film bares a humanity often lacking in these types of films. He securely grabs his audience by the heartstrings, presents them with finely honed visuals, and takes them on a ride. With his foot not just in the door but squarely kicking it down, Rosman will be one to watch.
The film likewise benefits from strong performances from Erin and Walger. Both build their characters as pillars of empathy, though from different perspectives. Both are awarded moments to demonstrate strength and resilience, even when faced with impossible choices. The performances further highlight the range of Rosman’s storytelling, particularly given the limited screen time the characters share. However, the moment the two women first interact stands out as one of the best scenes in the film.
From a technical standpoint, New Life shines. The rural settings enhance the cinematography. Shots never linger too long but move in such a way to enhance the tension. The film is not overly violent, however when violence occurs, Rosman doesn’t shy away, giving the film a visceral feeling without feeling gratuitous. By reigning in these elements, the film never feels bloated.
New Life is a medical horror for a post-pandemic world, a film that chooses to focus on humanity and empathy in the face of looming terror. Rosman crafts a solid debut that is anchored by astounding performances from his two leads. For a film to be both unsettling and hopeful, a certain balance needs to be struck, and New Life threads that needle to near perfection.
