Two innocent girls enter the woods for a fleeting adventure. What emerges from the shadows defies faith, family, and the very essence of humanity.
In the shadow of one of horror’s most towering legacies, The Exorcist: Believer (2023) dares to summon the demon once more, thrusting a beleaguered franchise into the modern era. Directed by David Gordon Green, this sequel-cum-reboot grapples with the weight of William Friedkin’s 1973 masterpiece, blending fresh terror with callbacks to exorcism rituals that have haunted generations. As possession films evolve amid shifting cultural anxieties, the film probes the intersections of parental desperation, religious scepticism, and supernatural dread, questioning whether the devil can truly be rebooted for today’s audiences.
- David Gordon Green’s bold attempt to revive the Exorcist saga through intimate family horror and visceral effects, while honouring the original’s spiritual core.
- Explorations of faith, doubt, and community in a secular age, with standout performances bridging past and present.
- The film’s production triumphs and controversies, cementing its place in the ongoing exorcism subgenre’s evolution.
Summoning the Past: The Believer’s Audacious Premise
Opening with a pulse-pounding prologue set in Haiti, The Exorcist: Believer introduces Victor Fielding (Leslie Odom Jr.), a single father whose life unravels during a catastrophic earthquake. Twelve years later, in a quiet American suburb, Victor’s daughter Angela (Lydia Jewett) and her friend Katherine (Chloe Bailey) vanish during a seemingly innocuous errand. Three days pass in agonising uncertainty before the girls reappear, disoriented and bearing marks of otherworldly torment. What follows is a meticulously crafted descent into possession, where guttural voices, levitating bodies, and blasphemous outbursts echo the original film’s iconic horrors, yet ground them in contemporary parental anguish.
The narrative expands the mythos by assembling an unlikely coalition of exorcists: Chris MacNeil (Ellen Burstyn, reprising her role from 1973), now a New Age spiritualist estranged from the church; Ann (Jennifer Nettles), a devout nurse whose faith has been tested; and a host of community figures drawn into the fray. Green’s script, co-written with Scott Teems and Danny McBride, eschews rote repetition for a multi-possession spectacle, emphasising group dynamics over solitary victimhood. This shift amplifies the terror, portraying the demonic force as a communal plague that infiltrates homes, schools, and sanctuaries alike.
Central to the film’s tension is the interplay between scepticism and belief. Victor, scarred by loss, embodies rational doubt, turning to science before confronting the supernatural. His journey mirrors broader societal drifts away from organised religion, a theme resonant in an era of declining church attendance. Yet, the film never preaches; instead, it revels in the raw physicality of possession, with Angela’s contorted form spewing vitriol that blends biblical heresy with pop culture barbs, a nod to how evil adapts to its audience.
Demonic Echoes: Bridging the Franchise Abyss
Forty years after The Exorcist redefined horror with its cerebral assault on faith, Believer navigates a franchise pockmarked by lacklustre sequels like John Boorman’s psychedelic Exorcist II: The Heretic (1977) and the risible Exorcist III (1990), despite William Peter Blatty’s literary pedigree. Green’s entry, the first under Blumhouse’s stewardship following a tumultuous rights battle, positions itself as a direct sequel to the original, ignoring prior misfires. This selective continuity allows Burstyn’s return as Chris, whose arc from shattered mother to jaded expert provides emotional ballast, her weathered presence a poignant reminder of time’s inexorable march.
Production lore adds layers to the revival. Acquired by Universal in a high-stakes auction, the project faced delays amid legal wrangling and the pandemic, mirroring the original’s own cursed shoot—fires, injuries, and deaths that fuelled its infernal reputation. Green, known for grounded dramas like Stronger (2017), infuses practical effects wizardry, collaborating with makeup maestro Chris Nelson to craft transformations that prioritise grotesque realism over CGI gloss. The result: stigmata that weep convincingly, eyes rolling back in sockets with mechanical precision, evoking the visceral ingenuity of Friedkin’s pea soup spew.
Cinematographer Michael Simmonds employs a subdued palette of suburban mundanity clashing against infernal reds and shadowy voids, heightening the invasion’s intimacy. Sound design, courtesy of the Everett Brothers, layers guttural demonics with distorted hymns, creating an auditory assault that lingers. These elements coalesce in a centrepiece exorcism sequence spanning multiple sites—a church basement, hospital room, living room—where faith’s collective power is tested, expanding the ritual’s choreography into a symphony of screams and sanctity.
Faith Under Siege: Thematic Depths of Possession
At its core, The Exorcist: Believer interrogates modern spirituality’s fractures. In a post-secular world, where atheism rises and scandals erode institutional trust, the film posits possession not as divine punishment but as a mirror to human frailty. Victor’s arc, from widower denying the divine to embracing interfaith solidarity, underscores themes of forgiveness and resilience, drawing parallels to real-world cases like the 1949 Anneliese Michel possessions that inspired the subgenre.
Gender dynamics enrich the narrative: the possessed girls embody lost innocence corrupted, their bodies battlegrounds for patriarchal demons invoking Pazuzu, the Mesopotamian wind spirit from the original. Yet, female-led exorcisms—Chris’s experiential wisdom, Ann’s unyielding piety—subvert male-dominated clergy tropes, aligning with evolving horror like The Conjuring universe. This feminist inflection critiques how trauma manifests, with Katherine’s devout upbringing clashing against Angela’s secular rebellion, their friendship a microcosm of ideological divides.
Class undertones simmer beneath the surface. Victor’s affluence contrasts with the girls’ diverse backgrounds—Angela’s blended family, Katherine’s strict household—highlighting how supernatural horror disproportionately afflicts the vulnerable, echoing The Texas Chain Saw Massacre‘s (1974) rural decay. The film subtly nods to America’s polarised landscape, where community rallies amid crisis, yet fractures along lines of belief and background.
Visceral Visions: Special Effects and Cinematic Craft
Special effects anchor the film’s terror, reviving analogue techniques in a digital age. Nelson’s prosthetics distort young faces into nightmarish masks—swollen tongues, veined craniums—achieved through silicone appliances and puppeteering, eschewing overreliance on green screens. Levitation rigs, reminiscent of the original’s harness work, propel bodies skyward with balletic fury, while practical blood and bile effects ground the supernatural in tangible grotesquery.
Mise-en-scène amplifies unease: cluttered suburban kitchens become altars of profanity, school lockers portals to hell. Lighting plays cruciform shadows across walls, symbolising encroaching crucifixes amid encroaching darkness. Editor Tim Alverson’s rhythmic cuts during rituals build crescendo, intercutting pleas and profanities to hypnotic effect, ensuring the exorcism feels exhaustive rather than expedient.
Score composer David Wingo weaves motifs from Jack Nitzsche’s original—haunting flutes, ominous choirs—into a modern tapestry, blending orchestral swells with industrial drones. This sonic continuity reinforces legacy while innovating, much like Green’s balance of homage and heresy.
Legacy’s Long Shadow: Influence and Critique
Believer‘s release reignited debates on franchise fatigue, grossing modestly yet sparking discourse on horror’s revival cycle. Critics praised its earnestness but faulted narrative sprawl, with exorcisms piling atop one another diluting dread. Box office underperformance, overshadowed by Saw X, underscores challenges in resurrecting sacred cows amid superhero dominance.
Yet, its cult potential endures through bold swings: queer undertones in Victor’s allyship, multicultural exorcists reflecting globalised faith. Influence ripples into upcoming trilogy instalments, promising deeper dives into MacNeil’s wanderings and Fielding’s fallout, potentially redeeming the saga’s spotty history.
In horror’s pantheon, Believer stands as a flawed but fervent prayer, reminding us why possession endures: it externalises our innermost demons, demanding confrontation in an age of avoidance.
Director in the Spotlight
David Gordon Green, born on 9 April 1975 in Little Rock, Arkansas, emerged as a pivotal voice in American independent cinema before tackling blockbusters. Raised in a creative household, he honed his craft at the North Carolina School of the Arts, where he studied under filmmakers like David Lynch’s collaborators. His debut, George Washington (2000), a poignant coming-of-age tale shot on digital video, garnered Sundance acclaim for its naturalistic poetry and launched his reputation for lyrical realism.
Green’s early career flourished with All the Real Girls (2003), a raw romance starring Paul Schneider, earning him best director prizes at indie festivals. Undertow (2004), a Southern Gothic thriller with Jamie Bell, showcased his affinity for atmospheric dread, while Snow Angels (2007) delved into domestic tragedy. A detour into stoner comedy with Pineapple Express (2008), co-directed with Seth Rogen, broadened his palette, grossing over $100 million and proving his versatility.
Returning to drama, Your Highness (2011) faltered as fantasy parody, but The Sitter (2011) rebounded modestly. Green’s renaissance arrived with the Halloween trilogy: Halloween (2018), a critical and commercial smash revitalising the slasher icon; Halloween Kills (2021), divisive for excess; and Halloween Ends (2022), concluding ambiguously. Influences abound—Terrence Malick’s lyricism, John Carpenter’s genre savvy—shaping his blend of intimacy and spectacle.
Awards include Independent Spirit nods and Saturn recognitions; he mentors via Goji City studios. Filmography highlights: George Washington (2000, debut drama); All the Real Girls (2003, romantic indie); Undertow (2004, thriller); Snow Angels (2007, ensemble drama); Pineapple Express (2008, action-comedy); Your Highness (2011, fantasy); The Sitter (2011, comedy); Prince Avalanche (2013, road dramedy); <emJoe (2013, crime drama with Nicolas Cage); <emManglehorn (2014, Al Pacino vehicle);
Actor in the Spotlight
Ellen Burstyn, born Edna Rae Gilooly on 7 December 1932 in Detroit, Michigan, embodies a chameleonic screen presence spanning seven decades. From chorus girl aspirations, she toiled in TV soaps like The Doctors before breaking through in film. Her 1970s pinnacle arrived with The Last Picture Show (1971), earning an Oscar nomination, followed by the career-defining The Exorcist (1973), where her raw maternal terror as Chris MacNeil cemented horror icon status.
Burstyn’s versatility shone in Alice Doesn’t Live Here Anymore (1974), netting a Best Actress Oscar as resilient waitress Alice, launching Martin Scorsese’s career. Subsequent roles in Providence (1977), A Dream of Passion (1978), and Same Time, Next Year (1978)—another Oscar nod—affirmed her dramatic heft. The 1980s brought Resurrection (1980) and The Silence of the North (1981), while TV triumphs included Emmys for The Ellen Burstyn Show (1986-87).
Revivals marked later decades: Requiem for a Dream (2000), another Oscar nomination for harrowing addiction portrait; The Fountain (2006); Darren Aronofsky collaborations like The Wrestler (2008). Stage work includes Tony-winning 84, Charing Cross Road (1989). Recent credits: Law & Order: SVU, Peacemaker (2022), and her poignant return in The Exorcist: Believer.
Awards: Oscar (1975), Cannes Best Actress (1977), two Emmys, Screen Actors Guild honours. Filmography: Troop Beverly Hills (1989, comedy); Dying Young (1991, romance); The Cemetery Club (1993, dramedy); Roommates (1995); How to Make an American Quilt (1995); The Spitfire Grill (1996); You Can Thank Me Later (1998); Playing by Heart (1998); The Yards (2000); Requiem for a Dream (2000); Within These Walls (2001, TV); The Five People You Meet in Heaven (2004, TV); Our Fathers (2005, TV); The Wicker Man (2006, horror); The Fountain (2006, sci-fi); The Stone Angel (2007); The Darjeeling Limited (2007); The Mighty Macs (2009); The Rebound (2009); Lovely, Still (2009); The Lightkeepers (2009); A Little Help (2010); Another Happy Day (2011); Henry’s Crime (2011); Flowers in the Attic (2014, TV); Draft Day (2014); Two Men in Town (2014); The Age of Adaline (2015); Shelley (2016); Wiener-Dog (2016); The Tale (2018); Nostalgia (2018); Lucy in the Sky (2019); Piece of a Woman (2020); The Exorcist: Believer (2023). Burstyn’s endurance inspires, her spirit undimmed.
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