Derelict (2024)

Directed by: Jonathan Zaurin

Written by: Kat Ellinger, Michael Mackenzie, Todd Rodgers

Starring: Suzanne Fulton, Michael Coombes, Pete Bird

Film Review by: Holly Baker

⭐️⭐️⭐️⭐️

Derelict (2024) marvellously transcends the boundaries of a gruelling psychological revenge thriller. Jonathan Zaurin’s second feature film takes viewers on a crime-ridden journey of love, grief, suffering and rage, and the ride is full of grit and emotion. Derelict’s gnarly narrative and passionate performances result in a gripping psychological battle between morals and justice, never letting you go, as its themes of violence and anguish are navigated in all of their complex cerebral glory.

Viewers are introduced to Abigail (Suzanne Fulton), who is vacantly grief-stricken and enraged following the trauma of the mysterious, horrific death of her father. On a quest for vengeance against his attackers, Abigail faces several physical threats and internal conflicts of conscience. Meanwhile, a young man named Matt (Michael Coombes) has his life derailed when his brother, Ewan (Pete Bird), returns home from prison. Matt’s moral compass is put to the test as his loyalties are divided between two opposing worlds. Will his delinquent brother lead him astray, or is there hope for Matt to avoid a life of crime?

The story takes place within a working-class community residing in Herefordshire, with the majority of its narrative told through a visualisation of washed-out images, depicted in a muted colour palette. Lending itself to Memento (2000), Derelict incorporates a reverse structure with dual timeframes symbolised through colour grading. Memento’s legacy also shines through in the film’s portrayal of complexly corrupted characters who are presented as dichotomous in their humanity and villainy. The film portrays menacing individuals in society as corrupt yet emotionally charged, meaning viewers may feel torn and unsure of whom to sympathise with, enhancing the film’s psychological poignancy.

Derelict does not shy away from its terrifying potential, with harrowing depictions of brutality and gore lending itself to the horror genre through ghastly special effects and a disturbingly visceral sound design. Scenes of sexual and physical violence are horrifyingly presented. There are moments of absolute despair when exploring the dangers of predatory men. The film also goes further to present the nuances at play within the patriarchy through presenting intricate characterisations of its most threatening characters. Attention is paid to exploring insecurities and prejudices which drive violent, hateful acts, brutally depicting the deathly consequences of toxic masculinity. The horrors at play in Derelict are further impactful through a potent demonstration of the disastrous effects of substance use. This is conveyed through haunting intoxication sequences. These are shown through anxiety-inducing, shaky, blurry cinematic sequences blended with moments of eerie stillness and quiet.

Derelict’s performances are blunt and assertive, with all of its characters making a strong impression on the feel of the film. The film’s most disturbing moments are enhanced by the actor’s commitment to eliciting disgust through vulgar body language and bellowing voices. Suzanne Felton’s acting is quietly impactful. Abigail comes across as subtly bold and empowered by the love and anger which drive her. Felton’s performance is comparable to that of Michaela McManus, who plays Irene in Redux Redux (2025), both notable accomplishments, sharing the admirable strength of executing the determination of a vengeful female character who is willing to go beyond any means necessary to achieve justice and closure.

As the film transitions from the first to the second act, there is a stark shift in tone. Through shaky camera work and the use of a sinister musical build-up, suspense is intensified brilliantly. One might compare such an effective increase in anticipation to that pulled off in Jordan Peele’s Get Out (2017), both films’ final acts maintaining a disturbing influx of violence and dread. Derelict’s use of time, through intertwining dual narratives and the creative incorporation of an analogue clock display, enhances the film’s sense of dread and excitement, making it impossible to look away from, despite the viewer being made aware of what the film’s events are going to lead to.

In the face of Derelict’s vulgar scenarios and graphic depictions of terrible suffering, what stays with you after watching is not a feeling of grimness or psychological upset. Rather, there is a warm feeling of hope. Derelict commits to engaging with the perplexing terrors implicated in its psychological thriller genre whilst maintaining a heartfelt focus on its characters’ humanity, keeping the viewer anxiously hooked and emotionally invested in the horrors at play.

After watching, you’ll definitely think twice before taking the underpass on your walk home…

Derelict is on digital 1 September from Miracle Media and on Blu-ray 22 September from 101 Films