Whilst there is a certain initial familiarity in Jessica Rothe portraying someone who’s in something of a cyclical environment in her latest horror effort, Affection, it becomes all too evident in the early minutes of BT Meza‘s genre outing that this is no retread of the more humorously minded Happy Death Day – the film that should have propelled the charming actress into a much bigger stratosphere than it ultimately did.
After an opening sequence that immediately intrigues as to what exactly Rothe’s Ellie has endured, the film sees her wake up in an environment she’s unfamiliar with. Standing across from her is a man (Joseph Cross) who claims to be her husband, and a young girl (Julianna Layne) affectionately referring to her as her mother. Ellie, though, has no recollection of either of them. She admits to being a mother, but to a son instead, and when she’s faced with her own reflection, even that proves a surprise. She’s understandably terrified, ready to flee the secluded house she is continually told is her home, but her husband assures her that this is a side effect of the tragic accident she was involved in; apparently, this disassociation is normal, and her outbursts have become more frequent.
Whilst this premise of someone being unsure of who they are and navigating their surroundings to uncover the truth isn’t entirely original within the genre, it should at least be handed to Meza that there’s a slight variation with the eventual plotting. Ellie is sure of who she is, and though we all know there’ll be something sinister to reveal what’s taking place, the script injects a sense of emotionality to proceedings as, before it gets to its plot twist (which is revealed far earlier than some may expect), it leans into the notion that Ellie does her best to make a bond with her supposed family. She attempts to build a parental connection with her daughter, whilst learning of her and her husband’s love story as high school sweethearts. The film intentionally wants us to be unsure of who it is we can trust, but then once it lays its cards out on the table, it becomes an exercise in both survival and how its title is as strangely romantic as it is toxic.
Meza definitely aims for the hills with his bold mentality, and whilst Affection may prove too grand in itself, the audacity of what he’s projecting and his evident penchant for Cronenberg-like body horror mean it’s at least worthy of a passing grade. There’s clear genre instincts at play, and Affection‘s blending of science fiction, domestic drama and visceral horror prove there’s tasty ingredients at bay, even if they don’t all come together for a flavour universally enjoyed.
Whatever flaws or caused confusion there is across its 90 minutes, Affection continually remains as watchable as it does due to Rothe’s commitment. She’s an undeniable star, and the full-bodied turn she delivers here only reiterates such; how such a versatile performer, one gifted physically in action and comedy, hasn’t broken out is still beyond me. Without giving too much away, Affection demands a lot from Rothe as an actress, and our investment in her character’s plight speaks further to her allegiance to the material, as well as Meza’s understanding of Ellie, and Cross’s more subdued, suspicious delivery.
A prime example of “film festival horror” – that being the type of bold, oft-experimental titles that find their appreciation outside of the mainstream way of thinking – Affection, whilst not reinventing the wheel, offers up its share of promise. It’s conceptual, has an appreciation for practical effects, and continues the genre’s strength as a delightful playground for new voices to let their freak flags fly.
THREE STARS (OUT OF FIVE)
Affection screened as the opening night feature at this year’s ScreamFest, running between October 7th and 16th, 2025. For more information, head to the official site here. Affection will also screen on October 18th as part of this year’s Brooklyn Horror Film Festival.
