And so Elliott (Bridey, that is), carefully constructs this hybrid haunted dramedy of possession and liberation with scenes of ribald humor and blatant celebration of the convivial joy of group inebriation while simultaneously undercutting their silliness with the sadness of solitary intoxication.

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Though it’s her first feature, Bridey is clearly a studied filmmaker. She doesn’t just understand her father’s signature comedy formula that so deftly combines pathos and lowbrow humor. Her brand of comedy is doused with the dark paranoia of a Roman Polanski film.

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