Margaret is a successful biotech manager and a single mother in Albany, New York. She has built a strict, careful life while raising her teenage daughter, Abbie, who is about to leave for college. Margaret's control breaks when she sees David, a cruel man from her past, at a work event and then in other places. David once trapped the teenage Margaret in a violent and strange relationship, and his return pulls old fear into her home, job, and mind. The film moves from a tense stalker story into graphic psychological horror, while leaving some events open to doubt.
The film uses Margaret's struggle with David to explore control, fear, guilt, and a mother's need to protect her child. David twists her love for Abbie and the memory of her dead baby into tools that keep her frightened and obedient. Margaret is a capable worker and a fierce protector, but her fear also makes her control Abbie as Abbie tries to grow up. The ending mixes revenge, birth, grief, and madness in a disturbing image that can be read in more than one way.
Community feedback
Was our 28% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Resurrection.
Woke representation / casting
Not present. The film has a mostly white cast, with an Asian female intern in a supporting role. The casting is not presented as a diversity message, and the story does not build its conflict around race, sex, or group representation.
0%
Woke political dialogue
Margaret says “fucking men” and then makes a broad claim about men's sexual choices. The line appears during her breakdown and does not guide the plot. The rest of the important dialogue concerns abuse, fear, motherhood, and control.
21%
Identity-driven story themes
The story centers on a man who controls Margaret when she is young and later tries to control her body, choices, and children. The film keeps returning to female fear, motherhood, and the fight to escape his power. Margaret also repeats some of that control by trying to lock Abbie inside the safe life she built. The gender message is central, but it stays inside one abusive relationship instead of becoming a broad activist argument.
38%
Western institutional / cultural critique
Not present. The film shows one abusive man and a troubled family, but it does not attack religion, capitalism, business, or Western institutions. Its workplace and family scenes serve Margaret's personal crisis.
0%
Woke character or canon changes
Not relevant. The film is an original story about Margaret, David, and Abbie. It does not change a known character or real event.
0%
Anti-woke backlash and complaints
Not present. Public discussion centered on Rebecca Hall's performance, the ending, abuse, and whether David was real. The supplied X pass found no anti-woke posts, and no reliable title-specific anti-woke backlash appeared in broader searches.
0%
Creator track record context
Andrew Semans has a craft-focused record with no clear DEI or identity-politics platform. Rebecca Hall has a stronger public record around feminism, mixed-race identity, and the Time's Up campaign. Several producers have backed films about women, queer people, or underrepresented groups. This background raises context modestly, but it is not tied to a public campaign for this film.
20%
Production
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