“Push” Is a Symbolic Battle Between a Pregnant Woman and Dangerous World
There are few stretches of a woman’s life less vulnerable than pregnancy. Not only dealing with constant physical and emotional changes, the expanding body becomes increasingly more cumbersome making self-defense more difficult with each passing day. Though many of us defer to expecting women in polite society, to those with nefarious intent, she is a walking target. In fact, the number one cause of death among pregnant people is murder. David Charbonier and Justin Powell bring this terror to life with Push, a pregnancy horror film that follows a new widow days away from giving birth tormented by a psychopathic killer determined to steal her baby. Charbonier and Powell keep the story draped in shadows, revealing just enough of this formidable killer to chill us to the bone. But a lighter tone prevents the harrowing story from descending into the soul-crushing gore and violence that have become the hallmarks of pregnancy horror.
The plot of Push is refreshingly simple. Natalie (Alicia Sanz) is a widow in her eighth month of pregnancy. She’s just moved to the states from Barcelona and is trying to make a name for herself in the cut throat world of real estate. Most of the story takes place at Natalie’s open house for an extravagant mansion. Despite the property’s spacious luxury, the disappointed agent has no visitors, perhaps due to rumors that the previous owners were murdered on the property. Moments before locking up for the night, a Stranger (Raúl Castillo) arrives to tour the house, but his sinister demeanor gives Natalie the creeps. When car trouble leaves her stranded at the isolated mansion, Natalie is visited once again by this disturbing Stranger who claims to know the house inside and out.
Much of this harrowing story rests on its exquisite primary location. Natalie’s listing is a ridiculously gorgeous house featuring luxurious finishes, stylish decor, and a charming elevator connecting three floors. As the opening credits roll, she treks through a seemingly endless series of interconnected rooms, opening curtains and ornate shudders to let in the light. However, this warm and inviting home soon becomes a daunting maze with endless places for a madman to hide. Well after dark, Natalie must traverse this expansive property knowing the killer could be lurking in every shadow.
Castillo is a terrifying villain whose face remains largely hidden throughout the film. We see a sinister smile peering out of the shadows and long for Natalie to distance herself from this unsettling Stranger. But he wears the mask of sanity well and it’s not till well after sunset that Natalie feels comfortable sounding the alarm. She’s trying to make a name for herself in a cut throat industry and can’t bear the thought of appearing weak to her colleagues. Charbonier and Powell give us just enough of her tragic backstory to explain her somewhat naive actions—especially considering her delicate condition—and her steadfast determination to go it alone.
Returning to the house in the growing dark, the Stranger unleashes a dark cruelty and murders anyone who tries to help. Like the best slasher villains, we learn very little about his true motivations. Seeming to emerge from the darkness itself, he is a ghastly yet mysterious threat. Some viewers may be frustrated with the lack of information given about this sinister man, but his unknowability feels like an extension of the house. Dressed all in white, Natalie is a similar mystery and Push becomes a symbolic battle between a virtuous woman and a dangerous world.
Despite these thinly drawn characters, Charbonier and Powell pack the film with unnerving suspense. The darkened mansion—complete with a charming cemetery on the grounds—becomes a character unto itself, often seeming to work against our endearing heroine. Several scenes may cause more sensitive viewers to cover their eyes including an excruciating scene in the malfunctioning elevator. Push would be a shocking thriller without the complication of Natalie’s pregnancy, but her impending arrival adds urgency to the tale when the chase begins. This vulnerable young woman might not feel like a traditional final girl, but she shows stoic strength in the face of a horrific killer. Relying on nothing but her own will to survive, Sanz anchors a terrifying film that unfolds mostly in shadows.
Jenn Adams is a writer, podcaster, and film critic from Nashville, TN. Find her social media nonsense @jennferatu.