A kidnapped brute finds the tables turned in ‘Heel’

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The film, titled “Heel,” starts with a fast-paced introduction to Tommy (Anson Boon), a young, attractive, and reckless character enjoying a drug-fueled party – a scene that initially seems to explain the movie’s name. However, we soon see him chained up in the basement of a secluded country house. The rest of the film, directed by Polish filmmaker Jan Komasa, clearly explores the idea of submission and control, hinting at a different meaning behind the title “Heel.” It’s a darkly humorous and unsettling thriller.

Who would disrupt this troublemaker’s life with a kidnapping meant to change him? The family responsible is strangely detached and rigidly follows rules: Chris (Stephen Graham) is quiet and unassuming, Catherine (Andrea Riseborough) is troubled, and their son Jonathan (Kit Rakusen) is well-mannered. They feel like characters pulled from the dark and unsettling worlds of Edward Gorey and Harold Pinter. Director Jakub Komasa blends fragmented storytelling with a disturbing moral compass in Bartek Bartosik’s script, creating a film, “Heel,” that is both bizarre and powerfully unsettling, often feeling more complex and impactful than it initially seems.

We first see Tommy chained and begging for release through the eyes of Katrina, a young refugee from Macedonia. She’s being shown around the large estate where she’s just started working as a housekeeper for Chris, earning twice the minimum wage. Like the audience, Katrina is shocked by what she sees, but she’s also vulnerable. She’s undocumented, Chris rescued her from homelessness, and she’s signed an agreement to keep everything secret, fearing deportation. Because of her own difficult situation, she feels powerless to intervene and simply accepts the disturbing scene as another bleak aspect of her life.

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Despite their strangeness, this close-knit and somewhat vulnerable family truly wants to include Tommy in their lives. They firmly believe in their unusual approach, which focuses on positive reinforcement and rewards. Tommy appears to be responding well, happily joining in their activities like meals, movie nights, and a picnic. This is where the film, “Heel,” becomes particularly unsettling, offering a critical look at how all families can be confining and emotionally manipulative. It’s fitting that Jerzy Skolimowski, known for his allegorical film “Moonlighting” about kidnapping, is an executive producer.

The entire cast is excellent, and their combined talent keeps the story unpredictable and engaging. Boon skillfully portrays his character’s tough exterior alongside surprising vulnerability, making a challenging role both compelling and suspenseful. Graham delivers a nuanced performance as the father, a far cry from his previous roles, and Riseborough is captivating as the stern but quiet mother. Frajczyk and Rakusen also give perfectly fitting performances.

Komasa followed up his family thriller “Anniversary” with “Heel,” a film exploring how politics can destroy a peaceful family life – a familiar theme. However, “Heel” takes a much darker and more unsettling approach, reminiscent of classic psychological thrillers from the 1960s like “The Servant” and “The Collector.” Though it occasionally feels more like a conceptual experiment than a fully realized story, its sophisticated and disturbing atmosphere is strikingly bold, calling to mind the early, unsettling work of director Roman Polanski.

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2026-03-07 04:01