Faith and religion have been key ideas in many horror films and series. The streaming provider Netflix is now waiting with the new horror series Midnight Mass of Haunted Hill House-Machers Mike Flanagan. No less a figure than Stephen King, the grand master of horror, has already given the seven episodes plenty of praise. In Flanagan’s third Netflix series, however, it is not another book adaptation as in his first two highly acclaimed horror productions, but a fictional original work that has been enriched with the author’s personal religious experiences. Flanagan is in Midnight Mass in addition to the script, also responsible for direction and production.
The setting is a small island called Crockett Island, whose inhabitants form a tight-knit community. Former businessman Riley Flynn (Zach Gilford) returns to the island to his parents’ home after serving four years in prison. Not everyone is happy with his unexpected return. Only his mother Annie (Kristin Lehman) and his former girlfriend Erin Greene (Kate Siegel) welcome him and try to reintegrate him into the community. On the other hand, the newly arrived charismatic priest Paul Hill (Hamish Linklater), who begins his service in the small church of St. Patrick, is welcomed with open arms. With his eloquence and deep religiosity, the cleric quickly turns the residents into obedient communities. Bev Keane (Samantha Sloyan), who is considered crazy, is particularly impressed by him and spreads her faith with fanatical overzealousness. But little by little, strange occurrences and ominous miracles for which there is no explanation.
In the uppards of the island, an area close to the beach, according to a myth, the ghost of a dead fisherman is said to roam mischief. Hundreds of dead cats wash up on the beach on a stormy night. The seemingly contemplative, homely island existence is shown in contrast, such as the annual Crock-Pott community meeting with folk music and homemade cakes. A girl sitting in a wheelchair can suddenly walk again, which of course nourishes the belief in a divine miracle. The main theme quickly emerges, which is also reflected in the titles of the episodes: Genesis, Psalms, Lamentations. The revelation is not missing either, which, as expected, is at the end.
The confessions and blissful acts of forgiveness in the community are overshadowed by highly emotional family tragedies, deep-seated hostilities and disturbing scenes such as the lustful drinking of blood by the priest or the sudden disappearance of the pregnancy of Erin. In the end, a frenetic struggle for survival develops on the island, which is far away from the mainland, in which only a few remain clear-minded and can thus escape the nightmare of apocalyptic proportions.
With this series, Flanagan has created another masterpiece. Not only the scenic representation is visually stunning. The individual characters unfold slowly but intensely. The burgeoning religious fanaticism reveals the human abyss of self-righteousness, delusion and hatred. And the moments of sheer horror are cleverly interspersed with the sovereign renunciation of ordinary shock effects. That all exalts Midnight Mass a pioneer of a new horror genre.
On Netflix, seven episodes