"A Magnificent Masterclass in Psychological Suspense"

The debut feature from writer and director James Matthew Denton is nothing short of magnificent. Co-directed by Richard Oakes, REMEMBRANCE is a masterclass in psychological suspense, delivering a gripping and beautifully crafted piece of British filmmaking that deserves to be experienced with as little prior knowledge as possible.

The film follows Grace (Alyssa Haymor), a young woman who has escaped captivity and is desperately attempting to piece together the fragments of her shattered psyche as we delve deeper into the mystery of what happened to her.

To reveal much more about the plot would be a disservice to the film and, more importantly, to the audience discovering it for the first time.

What I will say is that REMEMBRANCE wastes no time drawing us into its world. The story begins with Grace’s escape, appropriately presented as the opening chapter in a narrative that unfolds through a distinctive vignette-style structure.

This approach proves particularly effective, allowing the filmmakers to reveal information gradually while maintaining an atmosphere of uncertainty that keeps the audience questioning what they think they know.

Rather than delve further into the narrative, I’d prefer to focus on the performances, because this is where REMEMBRANCE truly excels.

And there are three individuals who deserve particular praise: Alyssa Haymor as Grace, Saffron Spearman as Amanda and James Matthew Denton himself as Isaac.

Let’s begin with Haymor, because quite simply, the film doesn’t work unless we believe Grace’s plight.

Her confusion, vulnerability and determination to understand what has happened to her form the emotional foundation of the entire story. If we don’t believe in Grace, the mystery surrounding her loses its impact.

Fortunately, Haymor delivers a remarkable performance.

There is an authenticity to her portrayal that makes Grace’s confusion and desperation feel entirely convincing. As the pieces of her fractured memories begin to emerge, Haymor ensures that we remain emotionally invested in her journey, even when we cannot be certain of what is real.

I’m actually rather glad I hadn’t seen Alyssa in anything before REMEMBRANCE. I approached Grace without any preconceived ideas about the actress or her previous work, allowing me to become completely absorbed in the character and her circumstances.

It’s a performance that carries considerable responsibility, and Haymor rises to the challenge magnificently.

Then there’s Saffron Spearman as Amanda.

On the face of it, Amanda is a more experienced and seasoned individual than the actress portraying her, and that could easily have created a disconnect between performer and character.

It doesn’t.

In fact, knowing how young Spearman was when she filmed the role makes her performance all the more impressive.

She completely inhabits Amanda, bringing confidence, authority and an assured presence to a character who could have felt considerably less convincing in another performer’s hands.

There’s never a moment when you feel you’re watching a young actress attempting to play someone older or more experienced. You simply believe in Amanda.

That, to me, is the mark of an accomplished performance.

And then we have Denton himself as Isaac.

Alongside his responsibilities behind the camera, Denton brings an effortless warmth to the role of the detective investigating Grace’s circumstances.

As we follow Isaac’s efforts to uncover the truth, Denton gives the character a humanity that provides an important counterbalance to the film’s darker psychological elements.

There’s something reassuring about his presence, and that quality becomes particularly valuable as the mystery develops.

It’s an understated but thoroughly engaging performance, and an impressive achievement from someone simultaneously carrying such significant creative responsibilities.

Of course, performances alone cannot sustain a psychological thriller. The filmmaking must be equally accomplished, and this is where Richard Oakes deserves enormous credit.

As both co-director and director of photography, Oakes is nothing short of exceptional.

For REMEMBRANCE to work as effectively as it does, it needs someone with a keen visual eye, an understanding of atmosphere and the ability to make the audience feel increasingly immersed in its unsettling world.

Oakes proves to be a fantastic choice.

His cinematography complements the narrative beautifully, creating a visual language that reinforces the film’s tension without overwhelming the performances or drawing unnecessary attention to itself.

There’s a confidence to the way the film is photographed. You know that with Oakes behind the camera, you’re in safe hands.

Equally impressive is the film’s pacing.

Psychological thrillers can sometimes become so preoccupied with withholding information that they lose their momentum. REMEMBRANCE never falls into that trap.

Its swift pace and vignette-style storytelling work together beautifully, with each chapter drawing us further into the mystery while ensuring the narrative continues moving forward.

The result is a film that grips you from beginning to end, never allowing its psychological complexity to come at the expense of its entertainment value.

And crucially, Denton and Oakes understand that suspense is not simply about surprising an audience. It’s about making us care enough about the characters that discovering the truth becomes genuinely important.

All in all, REMEMBRANCE is an incredible slice of British filmmaking.

With three outstanding central performances, exceptional cinematography, confident direction and a narrative structure that keeps you gripped from start to finish, James Matthew Denton and Richard Oakes have delivered a psychological thriller that demonstrates just how compelling independent cinema can be.

This is a journey well worth going on, and I, for one, cannot wait to experience it again.

REMEMBRANCE is available on UK digital platforms from Monday 19 October 2026, courtesy of Reel2Reel Films.