The Righteous Path
Genre: Drama/Thriller
Director: Todd Haynes
Writer: Andrew Doster
Cast: Jessie Buckley, Alicia Witt, Sadie Soverall, Cary Elwes, Nick Offerman, Amy Fortsyth, Cody Christian
1983. Anna (Jessie Buckley) has lived her entire life inside “The Light of Purity,” a religious cult in a rural Kansas town. Anna is in her small house and is getting ready for Sunday mass. Anna opens the closet where there are clothes all similar to each other and finally puts on a modest long dark dress that covers her entirely and then goes in front of the mirror and gathers her hair. Then she leaves the house and together with other women enters a large rustic room with walls decorated with sacred images, representations of saints and calligraphic scriptures praising purity and devotion. The pews are arranged in neat rows, filled with members of the community with men and women strictly separated. At the end of the room, a polished wooden pulpit with a man, Father Elijah (Cary Elwes), who controls everything that happens.
Shortly, following some rituals, Father Elijah begins the prayer in a solemn voice, and the members of the community respond in unison, repeating his words with devotion. Once the prayer is over, Elijah clears his throat and begins his sermon. He speaks of purity, obedience, and discipline, reminding the faithful that the outside world is corrupt and threatening. Elijah raises his arms, his voice growing louder and sharper. With fiery words, he warns of the sin that is spreading outside the confines of their community and warns them of the dangers and temptations of the outside world. The tone of his voice is almost hypnotic, but there is a ferocity in that crescendo that makes those present lower their heads. Only Anna, for a brief moment, seems to watch Elijah with a look of slight doubt, a ripple that betrays her inner struggle. She simply looks away, but only for a moment, and then returns. As Elijah continues to speak, a figure suddenly rises from the benches: she is Mary (Amy Forsyth), a young girl whose father died of an illness a few months earlier. With an uncertain but determined voice, she asks Elijah why the outside world must necessarily be a place of damnation. She says she has doubts, that she does not understand the reason for so much isolation. Anna, who is sitting behind her, whispers to her to sit down but the younger girl does not listen.
Elijah stops, for a long moment silence falls in the room, where every whisper and every breath stops. Father Elijah stares at her, with a penetrating and stern look. Mary stiffens decidedly tense but does not sit down and instead with a louder, almost impatient voice, continues to express her doubts. She asks if isolation and fear are really the only way to salvation. After a moment of hesitation, Mary meets Elijah's icy gaze. Her expression changes radically with insecurity that in an instant replaces rebellion and her face is colored with visible fear. Slowly, she lowers her head, murmuring a few words of apology and sits down without saying anything else. At that point Elijah, in a calm tone, resumes his sermon, warning the community against "the doubts and pitfalls of weakness", and the eyes of the faithful are lowered further, as if to avoid even the slightest dissenting glance.
The next morning, Anna is teaching the children, explaining a lesson on morality according to the strict rules of the cult. The children are seated in an orderly fashion, listening respectfully, and taking notes with the limited school supplies available to them. The school is a small, simple, functional classroom, furnished with old wooden desks and a chalkboard. As Anna asks one of the children a question, the classroom door slowly opens and Mary enters with a big smile, carrying new pens, notebooks, and a chocolate for all the children. Anna pauses for a moment, and the children turn to look at Mary. With a forced smile, Mary approaches the teacher’s desk, offering the materials to Anna with marked cordiality. Mary whispers something to Anna, seeking her gaze. She tells her that she had just felt “tired” the day before and that she had not meant to disrespect Elijah or the community. Anna gives her a soft, reassuring look, placing a comforting hand on her shoulder. Mary walks away and leaves the classroom, but before leaving, she gives Anna one last look, almost as if she wanted to say something. Anna watches her retrace her steps with a hint of concern and follows her for a moment, asking her kindly if she could stop by her house in the evening to talk together. Mary accepts and says she will stop by after dinner. Anna returns to the classroom, finding herself once again in front of the class of children, continuing to teach.
Anna sits at her house, sitting at the table and staring at the door, waiting for Mary to arrive. The sunset light filters through the window and envelops the room. Anna looks around, checks the time, gets up and straightens her dress, a hint of worry appears on her face. After a few moments, Anna approaches the door and opens it to look outside. The town appears silent and deserted. Anna steps out onto the threshold, huffs slightly and wraps her arms around herself, unsure of what to do.
Meanwhile, Mary is moving furtively through the fields. She has a small bag with her, and her face is lined with tension. She is constantly looking behind her, trying to make sure no one is following her. As she walks faster and faster towards the edge of the cult property, she catches sight of the main road with her breathing becoming more labored. Finally, Mary spots the fence at the edge of the community and approaches, ready to climb over it. As Mary climbs up, her quick, clumsy movements betray her agitation. Mary barely makes it over the fence before menacing shadows appear behind her. They are some of the cult men, approaching silently. One of them grabs her arm, and Mary lets out a muffled cry, a mixture of desperation and fear.
A short distance away, at the end of the field, Anna comes out of her house again, drawn by distant screams that she thinks she heard. She stops and sees Mary in the distance, almost an unreal figure against the dim light of the night. She can’t see the details, but she knows that Mary is in trouble. For a moment, Anna stands still, unsure whether to intervene or retreat. Mary, dragged away, struggles to free herself, begging softly, “Please help me.” Her words dissolve into darkness and the whispers of the wind. Finally, she gives in, and her figure disappears into the shadows along with the men who have captured her. Anna continues to watch the scene with a mixture of terror and helplessness. At night, Anna tosses and turns in bed without sleeping.
The next morning, the community gathers in the great hall for the morning sermon. Father Elijah, with his usual composure, stands up on the pulpit. His voice is deep and solemn as he announces that Mary has voluntarily left the community, having chosen “the path of sin” and given in to the “unclean spirits” that have contaminated her soul. The community members murmur among themselves, shocked by the news. Elijah continues to speak of how purity and discipline are essential to avoid the corruption of the outside world, using Mary’s example as a warning. Anna, sitting apart, feels a wave of cold run through her. She realizes that this version of events does not correspond to the reality she glimpsed the night before. Mary’s absence and Elijah’s words give rise to a painful certainty in her as her mind begins to work.
Rain pelts down on the silent homes of the community, shrouded in darkness as thunder rumbles overhead. Anna stands in the small entryway to her home, wearing a thick coat and clutching a small backpack in shaking hands. She looks around, making sure no one is watching. The darkness and rain provide the perfect cover, but every sound makes her jump. At one point, Anna takes a deep breath and walks toward the edge of the community. The rain completely envelops her, but she continues to run carefully. She climbs over a fence into a hidden area, different from the one Mary had tried to escape. Anna enters the woods, making her journey more difficult. The muddy ground makes her lose her balance, and at one point she trips over a root, falling heavily. She quickly gets up, her face covered in mud. She wipes herself off and continues walking until finally, beyond the edge of the woods, she spots a deserted road. Anna stops on the side of the road, in the rain, completely soaked. In the distance, she sees headlights approaching and waves timidly. The vehicle slows down, it's a truck. The driver, a man named Carl (NICK OFFERMAN), watches her with a certain curiosity and a hint of suspicion seeing her dirty and wet but lets her get in anyway.
Anna gets into the truck visibly tired and scared. Carl smiles kindly and studies her for a moment, trying to understand who she is and where she comes from while offering her a towel to dry herself and clean herself a bit. In the meantime he begins to talk about himself, telling her about his life as a truck driver and the places he has seen, then he asks her for some information, asking her who she is and what she does there. Anna answers evasively, without revealing practically anything, maintaining a reserved air. Carl notices her tension and doesn't insist. As the truck moves along the road, Anna slowly relaxes, the tension on her face melting for a moment as she looks at the dark landscapes from the window, seeing on a sign that the city of Wichita is not far away. He asks her where he should drop her off and Anna, not knowing what to answer, says to leave her in Wichita.
Carl stops the truck on a street in Wichita, indicating that it is time for her to get off. He leaves her a few words of encouragement and a reassuring smile before saying goodbye. Anna gets out of the truck looking at the city. Anna walks disoriented through the alleys of the city, observing everything with curiosity and caution while the rain has given way to a starry sky. Anna thinks about what to do, she has no plan and knows she is completely alone and so she begins to look for a place to spend the few hours that remain of the night, without knowing where to go or how to move. At a certain point Anna is approached by a young man who seems kind, who begins to speak to her in a friendly tone and introduces himself with the name of Jason (Cody Christian). He offers her a welcoming smile and behaves in an affable manner, trying to gain her trust. Noticing her lost look, he offers to show her some places in the city that are open all night. Anna is enchanted by the kind attentions she has never had before. She accepts the offer and together they go to a bar.
Sitting at a table, the young man offers Anna a drink, and encourages her to relax. She accepts one drink, then a second, and as time passes, she becomes more and more confused and vulnerable. He watches her with a satisfied smile, trying to convince her to leave the place and follow him in the car. Anna, never exposed to this kind of attention, gives him a trusting look and lets himself be convinced as she staggers toward the exit. Anna and the young man leave the bar and head for her car. The young man gently pushes her toward the car door, but just then a figure emerges from the shadows: it is Carl, who had been watching the scene from his truck. Carl approaches the young man and confronts him. With a firm punch, he knocks the boy out and grabs Anna, visibly confused, leading her away from the car. At that point Carl takes Anna to a nearby motel and pays for her room. He takes her to the bathroom, splashes cold water on her face to wake her up a bit, and explains what Jason wanted from her. Anna is shocked as she begins to feel better. Before leaving her, Carl looks at her seriously, and in a loving tone, advises her to be careful with everything and everyone. Carl takes his leave, telling her that he absolutely has to leave for work and can't wait any longer. Anna, sitting on the bed, looking dazed as the hangover begins to pass, nods and promises to be careful as she watches the truck drive away from her window. Then she lies down on the bed and quickly falls asleep.
Anna wakes up slowly, the sunlight filtering through the window hitting her face. Still groggy, she puts a hand to her forehead, feeling a slight headache from the previous night's hangover. After settling in, Anna leaves the motel and walks through the city. She observes everything with an expression of wonder. She walks disoriented, enchanted by every detail, from the lively colors of the signs to the smells coming out of the cafes. At times she finds herself in difficulty, like when she tries to understand how a vending machine works, observing it with curiosity before giving up, or when a street vendor offers her a free sample and she, embarrassed, awkwardly thanks him. Anna stops in front of a small bookstore, attracted by the poster advertising the presentation of a book. In the photo of the author she recognizes a red-haired, bohemian woman named Helen (Alicia Witt). The ad reports the title of the work, which explores the theme of individualism and rebellion against social impositions. These words strike a chord with Anna, speaking directly to her own experience.
Anna enters the bookshop, hesitating and looking around uncertainly. The people present seem at ease, immersed in listening, while Helen, with her eccentric style and charismatic voice, captures everyone's attention. Anna sits off to the side, visibly out of place, but unable to take her eyes off the author's confident and reassuring figure. Helen tells stories of people who have defied expectations, encouraging the audience to find their own way, even when they feel judged or misunderstood. Every word seems to resonate deeply with Anna, who loses herself in the story, feeling understood for the first time.
After the book launch, Anna shyly approaches Helen to talk. With a trembling voice, she tells her how much her words have resonated with her experience, although she chooses not to reveal specific details of her past. Helen, struck by Anna’s vulnerability, offers to have a coffee together to chat. In a small, cozy café, Anna begins to tell fragments of her life, never mentioning the cult or the exact reason for her escape, but letting the weight of a complex story shine through. Helen listens attentively and suggests that she explore what makes her happy, inviting her to a new meeting the next day.
At the end of the conversation, Anna accepts Helen’s invitation and goes home. Helen’s house is a cozy but eccentric place, with colorful walls, bookshelves full of texts and objects that tell a thousand stories. Anna, initially stiff and awkward, slowly lets herself be won over by the atmosphere of the place and begins to snoop around. During the visit, Helen introduces Anna to her daughter Samantha, a twenty-year-old girl with spots of color on her face because she is painting. Samantha is friendly and gives her a sincere smile that puts her at ease. The two exchange a few words, with Samantha telling her about some of the books she loves to read and Helen observing the scene with satisfaction. The girl begins to ask Anna simple questions about music and famous actors but Anna does not know what to say and gets into trouble. Helen notices Anna's discomfort and begins to talk about light topics and offers tea. However, it is clear that Anna still feels out of place and not ready to reveal too much about herself.
After leaving Helen's house, Anna heads to the motel where she is staying. As she walks down a dimly lit street, she has the distinct feeling of being watched. She looks around, trying to convince herself that it is just paranoia but the sound of footsteps behind her confirms her fears. Suddenly, a dark van slows down next to her. Anna speeds up, but soon notices two men who seem to appear out of nowhere, blocking her path. The two have calm but menacing expressions, and one of them speaks in a low, insinuating voice, telling her that Father Elijah is worried about her and that he just wants to take her "home."
Anna, paralyzed with fear for a moment, turns abruptly and begins to run. The men chase her, while she ducks into an alley and climbs a fire escape to escape them. One of the men almost catches up to her, grabbing her ankle, but Anna manages to free herself with a kick to the face. On the roof, she hides behind a vent, holding her breath as the two men search for her. After a few minutes, convinced that she has escaped, they walk away. At dawn the next day, Anna returns to Helen. Her face is marked with scratches and deep dark circles, evidence of a sleepless night. As she knocks on the door, she is hit on the head from behind and falls to the floor in a faint. When Helen opens the door, there is no one there.
Anna has been dragged into a van. Inside, Anna begins to wake up, blindfolded, tied up and dazed from the blows to the head, she can only perceive the whispers between her captors and the vibrations of the vehicle. Suddenly she hears Elijah's voice but she can't understand if he is inside the vehicle or if it is a game of her mind. The tension grows, but Anna is different now: the short time in the outside world has awakened a new awareness in her. It is no longer just fear that she feels, but also a lot of determination
At a certain point the van stops and she is locked in a small room in an isolated structure: an old house in the countryside converted into a "redemption center" within the sect. Elijah observes her through a grate, telling her that her escape was an act of rebellion, but that she can still be saved. He speaks of "purification" as a necessity. But Anna does not lower her gaze. She stares at him. For the first time, she replies: "You are not God. And I am no longer afraid of you."
Meanwhile, Helen, worried about Anna's sudden disappearance, sets out to look for her with her daughter Samantha. She goes to the motel, discovers that the room is in disarray. Nearby, she meets Carl. Carl reveals that Anna had vaguely mentioned Kansas and "a religious community." Helen connects the dots. Anna's words, her discomfort, her ignorance of the outside world... everything points to one conclusion: she escaped from a cult.
Using her contacts as a writer and activist, Helen involves an association that deals with escapees from coercive cults. Through an anonymous tip from Carl to the local police, they manage to locate one of the cult's properties, isolated among the fields. They prepare an intervention, but Helen insists on going too, fearing that the authorities will not act with the necessary delicacy.
Meanwhile, Anna pretends to give in to psychological torture. She feigns a return to repentance, eventually winning the curiosity of one of her younger captors by telling him about what she had seen in the city. With cunning, she manages to loosen her ropes and untie herself, strike her captors and escape in the middle of the night. But she is chased. At the same time, the police and Helen arrive at the property. Sirens light up the fields and the cult members scatter in panic. Elijah tries to escape with some followers, but is stopped by Carl, who with a furious look hits him on the head with a wooden plank. Then Elijah is taken away in handcuffs. Helen finds Anna in the woods, trembling but alive. The two embrace in tears.
A few months later, Anna lives with Helen and Samantha. She has begun a psychological process to process the trauma, and is attending a course to become a teacher, this time in a real school. She still has nightmares every now and then, but now she has someone who wakes her up and comforts her.
In the final scene we see Anna in a bookstore signing a copy of her first book, “The Righteous Path,” a collection of thoughts and stories inspired by her escape and rebirth. As she talks about the book we see, In the audience, Carl smiles proudly at her as do Helen and Samantha who sit in the front rows listening. The camera slowly pulls away.
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