If “prequel to a basic film concerning the beginning of the Antichrist” appears like one thing you’ve already encountered this 12 months, you’re not possessed: again in April, The First Omen delivered a gruesomely artistic exploration of occasions main into The Omen. Apartment 7A endeavors to do the identical for Rosemary’s Baby, and whereas its story presents fewer shocks than The First Omen, it’s nonetheless a thoughtfully thought of prequel anchored by an intriguing standpoint.
Impressed by Ira Levin’s 1967 novel and Roman Polanski’s 1968 movie, Condominium 7A was co-written and directed by Natalie Erika James, who additionally made 2020’s Relic—the story of three generations of ladies grappling with a creepy presence of their household dwelling. One other sinister dwelling takes heart stage in Condominium 7A, and Rosemary’s Child followers understand it properly: the Bramford, a once-elegant New York Metropolis condominium constructing whose growing older partitions conceal a coven of equally growing older Satanic witches.
The brand new movie’s manufacturing design pays shut consideration to element, and whereas the setting feels genuine, it’s not aiming to precisely copy Polanski’s model. There are key components that carry over, nevertheless, together with these very skinny partition partitions that enable raised voices and the haunting piano notes of “Für Elise” to waft between models.
Into this towering pile of darkish wooden, yellow lighting, and birdcage elevators stumbles Terry Gionoffrio, a personality who elements into the primary quarter-hour of Rosemary’s Child. Condominium 7A takes us again a 12 months or so earlier; it’s 1965, and Terry is simply beginning a promising dance profession when she suffers an agonizing harm. Julia Garner (Ozark, subsequent 12 months’s The Unbelievable 4: First Steps) brings a vulnerability to her model of Terry. You’re feeling her frustration as she faces not simply cash woes, audition rejections, and a worrisome dependence on painkillers, but additionally the insufferable feeling that the targets she’s been obsessively pursuing are slipping away.
In that headspace, you perceive why she may make some choices she in any other case wouldn’t, like accepting a free place to reside from Minnie and Roman Castavet (Dianne Wiest and Kevin McNally—each good, however not as iconic as Rosemary’s Child stars Ruth Gordon and Sidney Blackmer) proper after assembly them for the primary time. The Castavets, you see, merely adore serving to troubled younger ladies get their lives collectively. They’re additionally good associates with a Bramford resident (Jim Sturgess) who’s written a brand new musical that Terry would dearly like to be forged in.
We all know that is all a really dangerous thought—in spite of everything, Terry’s destiny is the rationale Rosemary Woodhouse turns into Devil’s subsequent womb of curiosity—however James and Garner discover methods to deliver emotional nuance to Terry’s more and more bleak scenario. Very very similar to Rosemary, she has to place the items collectively for herself in a narrative drenched in aggressive ambition, gaslighting, emotional abuse, sexual assault, physique horror, loneliness, and the petrifying feeling of not being secure in a single’s own residence. However in distinction to Rosemary—a housewife cheerfully hoping to change into pregnant—Terry is single, broke, unable to seek out work, and with none help system past her sympathetic greatest good friend.

For all of the callbacks to Rosemary’s Child (most of them are apparent: the impulsive brief haircut, the vodka blush cocktails, a memorable silver necklace), the brand new film does make one main alteration involving the intersecting plots of the 2 movies—it’s an intriguing selection, and one which provides a layer of separation between Terry and Rosemary’s ordeals.
However there’s additionally one other massive distinction that’s much less straightforward to place your finger on. Some of the chilling elements of Rosemary’s Child is that it’s not simply the story of a mom-to-be slowly realizing she’s the goal of an evil conspiracy. Most of it takes place within the Bramford, however it feels greater than that. Together with the protagonist, the viewer steadily begins to really feel paranoid concerning the world Rosemary’s Child takes place in. Simply how many individuals are members on this apocalyptic plot? Is that this a world future of doom we can’t keep away from? By the point that well-known closing scene rolls round, our fears are largely confirmed true.
Condominium 7A feels extra intimate. Terry could fantasize about having her title up in lights, however she’s extra generally recognized round Broadway as “the woman who fell,” a snarky reference to her devastating onstage tumble. However she’s additionally “the woman who fell” for the concept that full strangers could be selfless and type—and who realizes too late the devastating value required to deliver her glittering goals again to life.
On a closing word, there’s an extra similarity that hyperlinks Condominium 7A and The First Omen: each have been made by ladies, in distinction to the basic movies that impressed them. So typically in horror we see feminine characters put by means of their paces by male administrators; these movies sign a welcome change in perspective, significantly because it involves the acquainted style trope of ladies’s our bodies being seized and appropriated in grisly methods.

Condominium 7A streams on Paramount+ and shall be accessible for digital buy September 27.
Need extra io9 information? Try when to count on the most recent Marvel, Star Wars, and Star Trek releases, what’s subsequent for the DC Universe on film and TV, and every thing it is advisable to learn about the way forward for Doctor Who.
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