“Retreat”

“Retreat,” the debut feature from writer / director Ted Evans, is an unsettling psychological thriller with a haunting premise and groundbreaking execution, though not all of its bold swings fully land.

Featuring a cast of deaf actors (Evans himself is also deaf), there’s an undeniable sense of intimacy and insight to the film. Made in British Sign Language and told entirely through the lens of Deaf experience, it’s a rare and immersive thriller that doesn’t just include Deaf characters, but it centers them on their own terms. Silence here isn’t a gimmick, but a language of suspense, power, and emotional tension.

Set in an isolated English countryside manor, the film follows Eva (Anne Zander), a young woman from Berlin who arrives at a wellness retreat that promises healing and empowerment for Deaf individuals. It seems like a safe haven at first that’s warm, supportive, and rooted in community. But as with all good thrillers, cracks slowly begin to show. Why are residents required to complete a mysterious program called The Way? Why does no one seem to leave? And what does “you come out a different person” really mean?

At its best, the film is a slow-burn mystery rooted in something deeper than just plot mechanics. The script incorporates real therapeutic language and approaches to trauma, giving the story an authenticity that makes the early parts of the film feel grounded and even hopeful. It makes the eventual unraveling all the more disturbing.

The cast is excellent. Zander gives Eva a delicate mix of vulnerability and quiet resilience, while Sophie Stone’s Mia is a chilling, charismatic presence who is part spiritual leader and part authoritarian figure. James Joseph Boyle as Matt offers a deeply sympathetic counterpoint as someone whose entire life has been shaped by the retreat.

Where the film falters is in its pacing and payoff. The middle stretch drags with repetitive scenes that dull the tension rather than build it. And while the final act goes full-throttle into genre territory with outrageous twists, reveals, a touch of psychological horror, it ultimately doesn’t stick the landing. The climax feels rushed and conceptually muddled, especially when you consider how grounded and emotionally rich the setup was. The ending disappoints mostly because the story had so much potential to explore more meaningful resolutions (particularly with characters like Matt, who hint at deeper, more nuanced internal journeys), but opts for an off-the-wall shocker.

Still, there’s no denying “Retreat” is an ambitious, original piece of work. As the first Deaf-led psychological thriller of its kind, this is a powerful statement on representation, consent, and the fine line between healing and control.

By: Louisa Moore