Let’s get one thing straight from the off. Heir is uncomfortable viewing. The less you know going in, the better, but this none-more-dark examination of the nature of abuse and its perpetrators cuts seriously deep.
Gordon (Robert Nolan) connects online with Denis (Bill Oberst Jr.) over a disturbing shared interest. After a short email exchange, Gordon and his son (Mateo D’Avino) head off on a sinister road trip. After an awkward exchange with Denis in a diner, they head back to his place, and Heir ventures into genuinely disquieting territory.
It’s a film that, despite its fantastical elements, ultimately sets out to force you to confront a horror that takes its root very much in the real world. Its execution, for the most part, is immaculate. Oberst Jr is especially compelling here, and Nolan brings a lot to the table when conveying Gordon’s more apparent inner conflicts. It’s final major reveal is is a little jarring in its handling, and belies the quality of the groundwork that’s been done up to that point, but it doesn’t do much to detract from the impact of a film that fearlessly tackles its controversial subject matter, and delivers a deeply resonant cinematic gut-punch in the process.