At the climax of Close Encounters of the Third Kind, Richard Dreyfuss’s character embarks on a ride into the unknown, a rare cinematic moment where a hero willingly steps onto a UFO. In stark contrast, Peter Cilella’s Descendent, which premiered at SXSW, offers a much darker take on extraterrestrial encounters, featuring a protagonist who unravels under the weight of an alien abduction—or at least, the possibility of one. Blending elements of psychological horror and sci-fi, Cilella’s debut feature immerses viewers in an uncertain reality, leaving them to question whether its events are the result of extraterrestrial interference or the product of deeply buried childhood trauma.
Descendent centers on Sean (Ross Marquand), a working-class man living in a small Southern California community with his wife, Andrea (Sarah Bolger), as they prepare for the arrival of their first child. Though Sean is committed to his growing family, he’s burdened by self-doubt, particularly around his role as the breadwinner. His job as a security guard at a local school seems inadequate to the expectations of his extended family, who view him as a failure. Despite this, Andrea reassures him that they’ll manage, though she begins to grow worried when Sean mysteriously ends up in the hospital after a fall from the school’s roof. He claims to have been abducted by aliens and subjected to invasive procedures in an otherworldly setting, but his account of the event raises more questions than answers.
The film skillfully weaves uncertainty into Sean’s narrative. He recalls a bright object descending from the sky, followed by a traumatic experience with other human captives in a strange environment. However, as the film progresses, we learn about Sean’s tragic past: his mother died during childbirth, and his father took his own life years later. The possibility arises that Sean’s alien encounter may instead be a manifestation of suppressed childhood trauma, brought to the surface by the anxiety of impending fatherhood. As his mental state deteriorates, Sean experiences vivid nightmares, blackouts, and flashbacks that blur the line between reality and delusion. His newfound ability to overhear distant conversations further fuels his growing paranoia, although it’s unclear whether these perceptions are real or part of his deteriorating mental health. Adding to the mystery are Sean’s sudden and inexplicable artistic abilities—he creates disturbing, alien-like paintings without remembering doing so.
Marquand delivers a strong performance as a man on the edge, making Sean both sympathetic and unsettling. His interactions with figures of authority, such as a counselor (Aisha Camille Kabia) and his overbearing “Aunt” Robin (Susan Wilder), hint at unresolved anger issues, adding depth to the character’s unraveling psyche. As Sean’s behavior becomes increasingly erratic, his relationship with Andrea strains under the weight of his deteriorating mental state. While Andrea’s concern for their unborn child grows, she also fears the worst for Sean. The tension escalates when Sean insists on obtaining a gun to protect himself, further complicating an already volatile situation.
Despite the increasing psychological tension, Descendent never fully resolves the mystery at its core. Cilella carefully crafts a story where the supernatural elements are always in question, never confirmed or denied. The film leans heavily into ambiguity, evoking the narrative style of films like Communion and Mysterious Skin, where the audience is left to interpret the truth for themselves. While this approach intensifies the psychological tension, it also leaves some viewers frustrated by the lack of clarity.
The film’s stylistic ambiguity further complicates its genre classification. It straddles the line between character drama and sci-fi thriller, never fully committing to either genre. The subdued climax, with its low-key events and unresolved questions, reinforces the film’s uncertain narrative direction, leaving viewers to ponder whether Sean is truly being tormented by external forces or whether he is his own worst enemy.
Cilella’s deliberate, slow-burn approach to storytelling is both astute and effective, making full use of the talented cast, especially Marquand, whose performance adds depth to a character caught between paranoia and genuine fear. However, the film’s refusal to offer a definitive answer by its conclusion may leave some viewers feeling impatient. After 90 minutes of psychological ambiguity, the audience, much like Sean’s loved ones, is left in the dark, unsure whether the protagonist is a man truly besieged by forces beyond his control or simply struggling with the fallout of his own mind.
Ultimately, Descendent succeeds in creating a tense, atmospheric experience, even if its ambiguous narrative may leave some viewers longing for more resolution.
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