Jan Komasa’s “Heel” isn’t a thriller interested in the mechanics of kidnapping, but rather the unsettling quietude of those who attempt to control and “fix” another human being. The film, a black comedy with deeply unnerving undertones, centers on a seemingly ordinary English family who take extraordinary measures to rehabilitate a young criminal, Tommy (Anson Boon). It’s a premise that immediately begs questions about morality, control, and the very nature of family, and Komasa delivers a film that’s as thought-provoking as it is disturbing.
The film’s opening moments are a jarring contrast – a frenetic glimpse into Tommy’s life of reckless abandon, quickly followed by the stark reality of his captivity, neck-shackled in the basement of a remote estate. This abrupt shift sets the tone for a film that constantly challenges expectations and refuses straightforward answers. “Heel,” which premiered at the Toronto International Film Festival in September 2025, explores the complexities of human behavior and the lengths people will head to impose their own sense of order on chaos.
A Family’s Unconventional Methods
The family at the heart of “Heel” is anything but conventional. Chris (Stephen Graham) is a quiet, almost meek patriarch, while Catherine (Andrea Riseborough) exudes a haunted intensity. Their son, Jonathan (Kit Rakusen), is polite and observant, seemingly accustomed to the unusual dynamics within his household. This eerily isolated family believes they can reform Tommy through a system of reinforcement and reward, inviting him to participate in their daily lives – meals, movie nights, even a picnic – in an attempt to integrate him into their world.
Adding another layer of complexity is Katrina (Monika Frajczyk), a young Macedonian refugee hired as a housekeeper. She witnesses the family’s unorthodox methods firsthand, caught in a precarious position of her own – undocumented and reliant on Chris for survival. Her perspective serves as a chilling parallel to Tommy’s situation, highlighting the various forms of confinement and control that exist within the film’s narrative.
Strong Performances Drive the Psychological Tension
The strength of “Heel” lies in its cast, who deliver nuanced performances that keep the audience constantly questioning their motivations, and allegiances. Anson Boon is captivating as Tommy, portraying a vulnerability beneath his brash exterior. Stephen Graham’s portrayal of Chris is particularly compelling, a far cry from his role in “Adolescence,” offering a subtly unsettling performance. Andrea Riseborough embodies Catherine’s severity with a chilling restraint, while Kit Rakusen and Monika Frajczyk provide crucial supporting performances that add depth to the film’s complex dynamics.
Komasa, known for his family-centered thrillers like last year’s “Anniversary,” once again demonstrates his ability to explore the darker side of human relationships. However, “Heel” feels distinct, a twisted take on Tolstoy’s famous assertion that all happy families are alike. The film’s elegant disturbia recalls the psychological thrillers of the 1960s, such as “The Servant” and “The Collector,” and echoes the work of Polish filmmaker Roman Polanski.
“Heel” (also known as “Heel” according to Wikipedia) runs for 110 minutes and was released in the United Kingdom on March 20, 2026. It had its world premiere at the 50th Toronto International Film Festival on September 5, 2025.
What’s Next for Komasa and the Cast?
While “Heel” occasionally reveals its seams as an idea-driven film, its boldness and psychological depth develop it a compelling and unsettling cinematic experience. The film leaves audiences pondering the complexities of rehabilitation, the nature of control, and the fragile boundaries within families. The success of “Heel” will likely solidify Jan Komasa’s position as a leading voice in contemporary thriller filmmaking, and further showcase the talents of its impressive cast.
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