Review: Social class in tight focus in The Nest (2020)

It is apt that The Nest (written and directed by Sean Durkin) was released in 2020, given the plight of its protagonist spirals in aching precision beyond his control.

Jude Law plays Rory O’Hara, an English financier desperately trying to claw back his idea of success through a combination of charm, bluster and flat-out lying. 

Set in the mid-1980s, the film takes place briefly in New York but primarily in Thatcherite England when Rory uproots his family in search of greener pastures.

It is at the family’s new home where the film plays out in menacing shadow and lethargic long-shots, constantly leaving the audience waiting for a jumpscare that never comes. 

The horror arrives in a different fashion, without monsters or a haunted house, but rather a denouement that leaves us terrified nonetheless.

The Nest is often intentionally difficult to watch but never boring, largely because of the chemistry of its leads (Carrie Coon plays Rory’s wife, Alison) and a booming 80s soundtrack that punctuates extended periods of silence.

Bronski Beat, The Communards and the Thompson Twins echo the sentiment of a hopeful decade in upbeat disco tones, which stand in stark contrast to the events of the film.

It is at times a jarring juxtaposition that leaves the audience on edge and though uncomfortable, it is well worth the watch.

This is The Talented Mr Ripley reversed meets Wolf of Wall Street with a protagonist that lives beyond his means in a fleeting attempt to upwardly mobilise his social class.

Come to support local cinemas as they try to find their feet, stay for immaculate performances and a well crafted social horror that continues to build once you have left the room.

Not suitable for Under-18s, includes adult themes – Sex, Language and Nudity.
3.5/5.