Proclivitas by Miley Tunnecliffe (2025)

Watched by Matthew Donlan

Clare (Rose Riley) is mourning the sudden death of her mother when she learns that her family home was never sold. Having left the town to pursue a medical degree in the city, Clare hesitantly returns to her regional town of Monroe. She’s eager to sell the house quickly, avoid confronting her past and move on with her life. Her arrival to the town gets off to a rocky start when police officer, Tara, breathalyses Clare. Tara (Hayley McElhinney) is the bitter sister of Clare’s teenage love, Jerry (George Mason). Holding Clare responsible for the suffering experienced by Jerry, Tara warns her to keep away. Ignoring this, Clare and Jerry reconnect and rekindle their love in the process. However, their dark past and the strange figure lurking in Clare’s house seem desperate for the pair to remain apart.

The film is quick to set up the strange visions, noises and movements that plague Clare’s return home. A wet, pale-blue woman dressed in mundane clothing sits on the periphery of Clare’s sight. It is clear these visions stem from an unresolved traumatic event of her past. An event that ties Clare and Terry together beyond their youthful romance. However, these horrors quickly subside and give way to the romantic rekindling between the pair. For a moment it seems as if things will be okay, but when this haunting figure begins to stalk Jerry too, Clare decides to resolve the matter through desperate means.

A debut feature from Australian writer/director Miley Tunnecliffe, Proclivitas is the latest to enter the ever-growing horror game in Australia. It seeks to explore our tendency to evil and how individuals can be tempted back to their vices during moments of vulnerability. Grief has been the monster of choice for many horror films in this resurgent wave and while Proclivitas opens with death, it is addiction and trauma which present the true horrors.

Early in the film, Clare says “I want what is broken to be fixed.” While in reference to the dilapidated house she’s now taken residence in, it speaks to Clare’s broader struggles. Broken doors, cracked floorboards and faulty light fixtures could easily represent the silent suffering that Clare dwells in. Her life, like the house, is falling apart due to years of neglect and ignoring the issues has only made things worse. Her painkiller addiction, like the monster, stalks her through the day and night. Like an intrusive thought, it preys on the moments of quiet. Just as she relaxes in the shower or bed, her body calming, does the self-doubt creep in and jolt her to panic. With flickers in the corner of her eye and cold breaths down her neck, this monster persists and adapts. Like addiction it finds a way to learn from her growth and strike her vulnerabilities.

This is made even stronger in one particular sequence. Face-to-face with the monster, Clare’s grip on reality loosens. As she sinks into the ground, the monster’s hands wrap around Clare. There is a gentleness to their presence, as if they are providing comfort. Like that first high after years of sobriety, their kindness gives way to violence and trauma yet again. This third act, while hasty, is also the most visually creative in how it manifests Clare’s final attempt to resolve her pain. Excellent nightmare sequences and bold lighting choices raise the tension parallel to the stakes. These moments are the signs of promise for another inventive and confident Australian filmmaker.

Proclivitas screens in Australian cinemas from Thursday 19 March. Some preview sessions are available now.

Pick of the Week
This week you can see the Australian premiere of the 30th anniversary, 4K restoration of the Maiku Hama Trilogy at Golden Age. From Japanese director Kaizo Hayashi, this trilogy is a 90s cult classic, blending the American detective genre with contemporary Japanese neo-noir. The first screening is on Saturday 14 March.

New Releases - Thursday 12 March

• The Plague (Charlie Polinger)
• Arco (Ugo Bienvenu)
• Anemone (Ronan Day-Lewis)