Is The Inheritance a True Story? Is the Abernathy Estate a Real Mansion?

Directed by Alejandro Brugués, ‘The Inheritance’ tells the story of the Abernathy family as the billionaire patriarch, Charles Abernathy, invites his children to his palatial estate to celebrate his 75th birthday. After arriving, they are informed by their father that in order to receive their hefty inheritance, they must keep him alive till the end of the night from a mysterious entity. The horror drama follows Hannah, an outsider to the Abernathy household who is married to Drew, Charles’ son. Although she is told to leave for the night’s events, Hannah decides to stick around and find out the truth behind what haunts Charles and the Abernathys. Originally titled ‘The Last Will and Testament of Charles Abernathy,’ the film explores themes of family secrets, occult rituals, and generational curses while also depicting the consequences of unstoppable greed.

The Inheritance is Based on a Fictional Story that Subverts Expectations to Craft Something Unique

‘The Inheritance’ is a fictional drama about a dysfunctional wealthy family that begins as a whodunnit but quickly transforms into something else. Chris LaMont and Joe Russo penned the screenplay for the movie, which was initially planned to be a Netflix project but ended up in the hands of others. Undeniably, its most intriguing aspect is how it sets up expectations for a mystery thriller drama, with the classic setup of a rich, aging man imparting his wealth via inheritance to his children, which is subverted cleverly moments later. The story turns these initial suppositions on its head by diving into a horror drama brimming with occult and supernatural elements. In doing so, it manages to craft something fairly unique and untested, offering some exploratory leeway to the drama.

Under the expertise of Brugués, the film walks the tightrope between classic whodunnit fiction akin to Agatha Christie’s works and a straight-down-the-block scary movie. The mix between the two different genres, styles, and tones allowed the filmmaker to adopt a greater range of storytelling. “It’s a murder mystery in a way, but then it turns into a horror movie. It’s a very classic horror movie, and I liked how it started as something and then turns into something else,” the director said in an interview. Jumping between genres is not a radical reinvention of the wheel when it comes to modern filmmaking. However, what makes it interesting in ‘The Inheritance’ is how the narrative piggybacks off of its duality to dive deeper into what really matters at its heart – family.

The Inheritance Captures the Best of Both Worlds

Family dynamics are central to ‘The Inheritance.’ Despite leaning more towards horror the further the story progresses, the movie still attempts to ground itself in its whodunnit roots, specifically the role played by quirky family characters in such stories. The Alejandro Brugués directorial features similar themes while also trying to illustrate the bonds between each family member, their secrets, insecurities, and failed relationships with their father or with each other. In doing so, it breeds a fertile ground of emotions mainly revolving around jealousy, dashed hopes and dreams, an exacting father, and a family where business comes before feelings. Over time, the gap between these personal relationships and horror aspects is bridged when the truth behind Charles’ real motivations comes to light.

Brugués was particularly invested in the family dynamics of the Abernathys, seeing it as a vibrant opportunity to insert some much-needed social commentary on the situation unfolding throughout the narrative. He also lobbied for a diverse protagonist, as an all-white family did not seem adequately interesting or engaging to him. The blend of perspectives, agendas, and secret motives brings complexity to the central drama, even if it is ultimately superseded by the grave threat posed by the supernatural entity after Charles. Thus, while the movie may present a heightened reality with unlikely events taking place, it manages to keep itself somewhat believable, both through its thematic elements and a breakneck pace that keeps things fresh at all times.

The Abernathys Estate is a Fictional Mansion With Some Ties to Reality

As ‘The Inheritance’ is primarily set up as a whodunnit mystery, the narrative takes place in the confines of the Abernathy household, the magnificent estate owned by Charles Abernathy. Like much of the story, it is a fictional abode conceived by the movie’s scriptwriters, Chris LaMont and Joe Russo, centering the narrative in a visually striking mansion equal to the dread unfolding within it. Later, as the narrative morphs into a haunted house story, the estate’s shadowy corridors bring an eerieness to the overall experience.

Filming for ‘The Inheritance’ took place in the British Columbia province, specifically in the city of Vancouver and the Vancouver Island region. The province is known for its geodiversity, accessibility, and diverse range of locales, mainly its blend between historic and modern architecture, which was integral to the horror film.  The team utilized the majestic architecture of Hatley Castle, a heritage building inside the Royal Roads University Campus, for much of the exterior shots of the Abernathy estate. Situated at 2005 Sooke Road, Victoria, the location brought a sense of weight and gravitas to the house and also made it an imposing structure. A number of scenes were also recorded in Vancouver, which offered more versatility and options to the crew.

In the movie, Charles Abernathy spruces up the building with state-of-the-art security gadgets, hoping to keep himself locked and safe while his supernatural tormentor comes to collect his dues. As a result, the narrative exclusively takes place in the establishment’s interiors, allowing the production crew to showcase their creativity with a myriad of atmospheric backdrops. However, despite its incredible presentation and appearance, the Abernathy estate remains a fictional creation confined to the realms of the movie.

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