The Offering, released in 2022, is a supernatural horror film directed by Oliver Park. Set in a Jewish funeral home in Brooklyn, it tells the story of a demon named Abyzou that possesses the dead body of a man named Yosille. When Yosille’s body arrives at the funeral home run by Saul, his son Arthur accidentally releases Abyzou, unleashing a terrifying series of events.
The film begins with Yosille unsuccessfully attempting to contain Abyzou before killing himself. His corpse arrives at Saul’s funeral home, where Saul’s estranged son Arthur has come to visit with his pregnant wife Claire. Hoping to reconcile with his father, Arthur offers the funeral home as collateral for his debts.
While preparing Yosille’s body, Arthur finds a mystical amulet and accidentally breaks it, unknowingly releasing the demon Abyzou that Yosille had trapped inside himself. Soon after, paranormal activities begin plaguing the funeral home as Abyzou starts hunting for children, putting Claire and her unborn baby at risk.
Desperate to re-trap the demon, Arthur seeks the help of a mystical scholar named Chayim. Following his instructions, they attempt to lure Abyzou into Art’s body to re-trap it inside the amulet. However, the demon outsmarts them, killing Chayim and taking the form of others to deceive Arthur.
The Offering Ending Explained
In the climactic ending, Abyzou tricks Arthur by shape-shifting into his friend Heimish. Believing Heimish has come to help complete the ritual, Arthur invites the demon inside his body and stabs himself, realizing too late that it was the demon in disguise. Arthur dies, leaving Abyzou still on the loose.
The film ends with Claire waking up unharmed, believing the demonic attacks were just a nightmare. She runs toward Arthur in relief, only to realize it is Abyzou masquerading as him, intent on claiming Claire’s unborn child. This haunting ending suggests that Abyzou remains free to continue preying upon innocent children.
If the film falls short, it’s in showing too much of Abyzou itself. The demon’s crazed appearances diminish its sinister mystique, undercutting the atmosphere of slowly encroaching doom. Abyzou’s presence is best left to flickering shadows and strange noises rather than CGI creatures and prosthetics.
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However, The Offering mostly overcomes its jump-scare tendencies to deliver a tightly constructed, if familiar, religious horror tale distinguished by its Jewish context. For horror fans, it’s a diverting and chilling, if not groundbreaking, addition to the possession/exorcism subgenre.
