Neil Burger, the director of The Illusionist and The Marsh King’s Daughter, returns with Inheritance, a thriller that proves to be a pleasant surprise this early in the movie year. He’s got a very specific vision for this effort, and the way that vision is carried out hooked me from the get-go. The story may deal with familiar elements, but they’re executed with originality.
Maya (Fair Play’s Phoebe Dynevor) has spent the last year caring for her ill mother, who is now deceased. Her estranged father Sam (Rhys Ifans) shows up at the funeral, hoping to make amends for his past absence. Specifically, he wants Maya to assist him in a foreign real estate deal he’s working on. Desperate to live something resembling a life again, she agrees. They travel to Egypt, where it quickly becomes clear that Sam’s dealings aren’t entirely above board. When he’s kidnapped, she’s given two days to retrieve an object that his captors want.
Inheritance contains a basic level of suspense because Maya is in over her head. Her trek takes her through Egypt, then into India and South Korea – all places where she’s the proverbial stranger in a strange land. She doesn’t know who to trust, not that anyone can be trusted to begin with. The screenplay, which Burger co-wrote with Olen Steinhauer (All the Old Knives), plays on the notion that the character is globe-hopping on her own, with no backup.
The storytelling style is what distinguishes the film most. Burger shot it with an iPhone. This allows him to move along with Dynevor as she makes her way through various exotic locations. The camera is often tight on her face, allowing us to register the anxious confusion she brings to the character. At times, it’s obvious that they’re shooting almost guerrilla style, with the actress traversing public areas among real people going about their actual business. This approach allows viewers to feel like they’re accompanying Maya on her mission. Nowhere is it better utilized than in a tense sequence where she’s on the back of a motorcycle, trying to lose pursuing vehicles by winding through the narrowest streets in India. If you find yourself gripping your seat, it’s totally understandable.
A few supporting players skirt around the edges of Inheritance. For the most part, though, the show belongs to Dynevor and Ifans. The former conveys authentic panic, then nicely switches to a tougher note once our heroine gains a fuller grasp on the situation. The latter makes clear that Sam is devious, while still making us wonder if his desire to reconnect with his daughter is genuine. To explain the significance of the movie’s title would be a spoiler, so let’s just say the messed-up parent/child dynamic is at the heart of the plot, leading to an explosive finale.
Inheritance has minor instances where logic doesn’t entirely hold up. Strong performances, an enticing verité style, and great use of atmospheric locales prevent you from lingering on them. This is an international thriller that smartly puts as much emphasis on the protagonist’s emotional journey as it does on her physical one.
out of four
Inheritance is rated R for language and some sexual content/nudity. The running time is 1 hour and 39 minutes.
© 2025 Mike McGranaghan