A chilling ghost story filled with strong characters and palpable dread; Surrogate also marks the introduction of filmmaker in David Willing, a strong new talent in Australian genre filmmaking.

“There is no such thing as monsters”. These are the words parents often use to reassure our children that there is nothing to be afraid of when the lights go out. Of course, that is not necessarily true, with all matter of human monsters wandering the streets at any given time. It is the job of parents to protect our children from such danger.

For single mother Natalie (Kestie Morassi) that danger has penetrated her walls. It is a macabre spirit: dangerous, unseeing, and with its eyes on Natalie’s daughter Taysha (Rose Paxton). Natalie also feels the wrath of this vengeful ghost, dealing with injuries both physical and psychological. One scene early in Surrogate will test the boundaries of those who can’t stomach the sight of blood.

From The Exorcist to Insidious, the ‘child in peril’ supernatural movie has been a permanent fixture in the horror genre. Surrogate works so well because it takes its time to build its characters, its story, its stakes, and its scares. The best supernatural horror movies are just as effective as dramas, since they are stories about characters in the land of the living as much as the spirits that haunt them. Director David Willing, who co-wrote Surrogate with Beth King, takes this knowledge and creates a genuinely creepy ghost story that delves into the depths of the love a mother has for her child.

Morassi, whose previous experience with horror comes from the Wolf Creek streaming series, inhabits Natalie with raw emotion as she portrays the psychological and physical effects of a haunting by a macabre spirit.

Natalie’s rational mind struggles to comprehend the horror that has befallen her family, until she gives in to an alternate approach. Cue what is a contender for scariest scene of the year, as a child medium named Ava (Ellie Stewart) attempts to communicate with the spirit in a set-up reminiscent of the Three Kings paranormal game.

With mirrors placed on both sides and a flickering candle in the centre, Ava – whose pink dress wonderfully clashes with the grim grey aesthetic – calls forth the spirit to introduce itself, only to find that this petrifying poltergeist doesn’t like to play games. It is a compellingly creepy sequence that Willing plays out with the right amount of restraint and pacing.

As Surrogate delves into murder mystery territory, the films palpable dread wanes. Yet so strong is Willing’s handle of his material and Morassi’s compelling lead performance, that Surrogate is sure to haunt you long after the credit’s role.