The shadow of Roman Polanski’s 1968 classic Rosemary’s Baby continues to loom large over the horror genre, casting both reverence and scrutiny. This landmark film redefined domestic terror, sparking a wave of sequels and reboots—from the forgettable 1976 television follow-up to Zoe Saldana’s 2014 miniseries. Even Ira Levin, who wrote the original novel, couldn’t resist revisiting the story in his 1997 sequel, Son of Rosemary.
Now, Apartment 7A arrives, a fresh prequel that reexamines the circumstances leading up to Rosemary’s ordeal. Directed by Natalie Erika James, whose 2020 film Relic delivered atmospheric chills, Apartment 7A explores familiar territory while adding a modern touch. Though it may not surpass the original’s haunting brilliance, this film envelops viewers in a rich, eerie atmosphere, balancing psychological tension with character-driven drama. With unsettling visuals and strong performances, Apartment 7A stands as a testament to the lasting impact of Rosemary’s Baby, while also carving its own path in the horror landscape.
For decades, films about motherhood were predominantly created by men. While some of these stories were compelling, they often failed to capture the full depth of the maternal experience—its joys, sacrifices, and struggles. Now, a shift is happening as more women filmmakers take center stage, bringing authentic perspectives and lived experiences to these stories. They explore themes of identity, sacrifice, mental health, and the pressures society places on mothers. Their films offer a deeper, more nuanced view of parenting, reflecting the emotional complexity of women’s experiences today.
Apartment 7A is a prime example of this change, offering a fresh take on pregnancy compared to its predecessor. While Rosemary longed for motherhood, Terry, the main character in Apartment 7A, feels uneasy about her unexpected pregnancy. She sees it not as a blessing, but as a threat to her ambitions, reflecting the anxieties many women face today. The film even touches on alternatives to motherhood, sparking important conversations about the choices women have. This new approach not only invites reflection but also highlights the historical weight that still shapes the way motherhood is viewed in today’s world.
In Apartment 7A, pregnancy itself becomes a haunting presence, echoing the tension that made Rosemary’s Baby so unsettling. The film challenges the outdated idea that a woman’s identity disappears when she becomes a mother—a stereotype often reinforced in films. Julia Garner delivers a standout performance as Terry, skillfully navigating the character’s complex emotions. Stepping into a role once held by Mia Farrow could be daunting, but Garner creates her own space, bringing depth and individuality to Terry that separates her from Rosemary.
The film’s emotional depth is further enriched by Dianne Wiest’s portrayal of Minnie. She strikes a perfect balance between warmth and malice, evoking Ruth Gordon’s iconic performance from the original. Minnie’s character is a fascinating mix of charm and menace, leaving viewers questioning whether she is simply lonely or something more sinister. Kevin McNally as Roman and Jim Sturgess as Alan Marchand add complexity to the film. Sturgess, in particular, makes a strong impression in his brief scenes, blending charm with danger as his character ensnares both Terry and the audience.
Natalie Erika James deserves credit for the film’s meticulous attention to detail, crafting an atmosphere that feels authentic to the world of Rosemary’s Baby. The sets, production design, and costumes transport viewers to an era that mirrors the original, while still incorporating modern sensibilities. This prequel captures the essence of its predecessor without being a mere imitation, offering new twists that will surprise even longtime fans.
While many prequels struggle to justify their existence, Apartment 7A succeeds in carving out its own space with moments of suspense and genuine horror. The film amplifies the sense of dread, using graphic imagery in a way that feels more visceral than the original, yet never excessive. James handles the brutality with precision, making it feel haunting rather than gratuitous.
In revisiting the eerie halls of the Bramford, Apartment 7A does more than expand a beloved story—it offers a reflection on the complexities of the female experience. It’s a celebration of women’s voices in cinema, highlighting the multifaceted nature of motherhood and identity in a world that often seeks to confine them. While Apartment 7A may not be essential, it shines as a thoughtful exploration of the darker corners of the maternal psyche, where joy and dread intertwine in an unsettling dance.
Director: Natalie Erika James
Cast: Julia Garner, Dianne Wiest, Jim Sturgess
Writers: Natalie Erika James, Christian White, Skylar James, (Based on the novel Rosemary’s Baby by Ira Levin)
Producers: Michael Bay, Andrew Form, Brad Fuller, John Krasinski, Allyson Seeger
Music: Adam Price
Cinematography: Arnau Valls Colomer
Editor: Andy Canny
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