Inheritance
2024·Documentary·6m
7.0
★
A woman's message to her mother and her connection with her home country of The Philippines made two weeks before her first visit to the country.
Directed by Jules Leaño
Popular Reviews
23 reviews
Melissa Lomeli
6.0★ · 02/27/26
interesante como filmaron esto
interesante como filmaron esto
mdot
2.0★ · 01/14/26
stupid movie shot on iphone. so insanely boring i just can’t believe it. there was absolutely nothing done with the phone to make up for the quality drop you get, and it was annoying bc the camera op couldn’t sit still. it was always moving or shaking and its just nauseating. could work for a different kinda movie but NOT a “spy thriller” good lord. also one of the dumbest endings ever it makes no sense
would be a half star if pheobe wasnt one of my movie crushes
would be a half star if pheobe wasnt one of my movie crushes
stupid movie shot on iphone. so insanely boring i just can’t believe it. there was absolutely nothing done with the phone to make up for the quality drop you get, and it was annoying bc the camera op couldn’t sit still. it was always moving or shaking and its just nauseating. could work for a different kinda movie but NOT a “spy thriller” good lord. also one of the dumbest endings ever it makes no sense
would be a half star if pheobe wasnt one of my movie crushes
would be a half star if pheobe wasnt one of my movie crushes
Zoey
6.0★ · 01/13/26
I aspire to be half as cool as phoebe dynevor is in this
I aspire to be half as cool as phoebe dynevor is in this
nour
7.0★ · 11/27/25
this entire movie is such a fever dream
this entire movie is such a fever dream
EphemeralMemories
6.0★ · 03/17/25
We’re stuck with what we’ve done, and guilt is as useless as those prayers your mom used to say to her Buddha.
As a spy thriller it has a decent plot as far as narrative goes, but only has one key plot, lacking complication from subplots. However it is the creative choice to shoot on an iPhone guerrilla style that makes this film unique. Shot in style that draws similarities with an observational style of documentary film making and to some extent has the eerie feeling of found footage when scenes are rather shaky as characters are on a chase or a run. Most of scenes are closeups below the chin of Maya Welch (Phoebe Dynevor) whether from the side or the front and at times using a 0.5 lens decreasing the depth of field produces this sense of unease and claustrophobia, reflective of Maya’s fear and watchfulness as she rushes through the streets of Delhi or Cairo or Seoul. Without the great acting sensibilities of Dynevor and also secondarily Rhys Ifans the film would have been disappointing, their acting props up the whole production. The lack of colour grading is also an interesting choice making it seem more like documentary removing its cinematic quality. An idiosyncratic film for its genre as it lacks the visual polished slickness that films of this genre usually has, but prefers the on the ground immediate action surrounded by unpredictability of the foreign society around it.
As a spy thriller it has a decent plot as far as narrative goes, but only has one key plot, lacking complication from subplots. However it is the creative choice to shoot on an iPhone guerrilla style that makes this film unique. Shot in style that draws similarities with an observational style of documentary film making and to some extent has the eerie feeling of found footage when scenes are rather shaky as characters are on a chase or a run. Most of scenes are closeups below the chin of Maya Welch (Phoebe Dynevor) whether from the side or the front and at times using a 0.5 lens decreasing the depth of field produces this sense of unease and claustrophobia, reflective of Maya’s fear and watchfulness as she rushes through the streets of Delhi or Cairo or Seoul. Without the great acting sensibilities of Dynevor and also secondarily Rhys Ifans the film would have been disappointing, their acting props up the whole production. The lack of colour grading is also an interesting choice making it seem more like documentary removing its cinematic quality. An idiosyncratic film for its genre as it lacks the visual polished slickness that films of this genre usually has, but prefers the on the ground immediate action surrounded by unpredictability of the foreign society around it.
We’re stuck with what we’ve done, and guilt is as useless as those prayers your mom used to say to her Buddha.
As a spy thriller it has a decent plot as far as narrative goes, but only has one key plot, lacking complication from subplots. However it is the creative choice to shoot on an iPhone guerrilla style that makes this film unique. Shot in style that draws similarities with an observational style of documentary film making and to some extent has the eerie feeling of found footage when scenes are rather shaky as characters are on a chase or a run. Most of scenes are closeups below the chin of Maya Welch (Phoebe Dynevor) whether from the side or the front and at times using a 0.5 lens decreasing the depth of field produces this sense of unease and claustrophobia, reflective of Maya’s fear and watchfulness as she rushes through the streets of Delhi or Cairo or Seoul. Without the great acting sensibilities of Dynevor and also secondarily Rhys Ifans the film would have been disappointing, their acting props up the whole production. The lack of colour grading is also an interesting choice making it seem more like documentary removing its cinematic quality. An idiosyncratic film for its genre as it lacks the visual polished slickness that films of this genre usually has, but prefers the on the ground immediate action surrounded by unpredictability of the foreign society around it.
As a spy thriller it has a decent plot as far as narrative goes, but only has one key plot, lacking complication from subplots. However it is the creative choice to shoot on an iPhone guerrilla style that makes this film unique. Shot in style that draws similarities with an observational style of documentary film making and to some extent has the eerie feeling of found footage when scenes are rather shaky as characters are on a chase or a run. Most of scenes are closeups below the chin of Maya Welch (Phoebe Dynevor) whether from the side or the front and at times using a 0.5 lens decreasing the depth of field produces this sense of unease and claustrophobia, reflective of Maya’s fear and watchfulness as she rushes through the streets of Delhi or Cairo or Seoul. Without the great acting sensibilities of Dynevor and also secondarily Rhys Ifans the film would have been disappointing, their acting props up the whole production. The lack of colour grading is also an interesting choice making it seem more like documentary removing its cinematic quality. An idiosyncratic film for its genre as it lacks the visual polished slickness that films of this genre usually has, but prefers the on the ground immediate action surrounded by unpredictability of the foreign society around it.