Imagine being trapped in your childhood home, haunted not just by a sinister presence but by the ghosts of your own traumatic past. This is the chilling premise of Other, a film that tantalizes with its psychological depth but stumbles when it leans into creature feature territory.
Other follows Alice, a former model played by Olga Kurylenko, as she returns to her childhood home after her mother’s death. What begins as a somber homecoming quickly turns into a nightmare. The house is rigged with surveillance, tracking her every move, while a malevolent force lurks in the shadows, pushing her toward a terrifying revelation. The isolation is palpable—a universal fear that instantly hooks the audience. Who wouldn’t wonder, ‘What would I do in her shoes?’
But here’s where it gets controversial: While the film excels as a psychological thriller, exploring Alice’s traumatic childhood and her fear of repeating her mother’s mistakes, it introduces a physical monster that feels out of place. The creature, which attacks people’s faces, is a disturbing concept—especially given Alice’s background as a model—but it distracts from the richer psychological horror. The gore effects are well-executed, but they overshadow the subtler, more compelling themes of trauma and maternal legacy.
One of the film’s most intriguing aspects is Alice’s aversion to having children. What initially seems like a desire for independence reveals itself as a deep-seated fear of inflicting the same pain her mother did. These moments are where Other truly shines, delving into the complexities of inherited trauma. And this is the part most people miss: The monster, while visually striking, feels like a misstep, pulling the film away from its strengths and into more generic horror territory.
Director David Moreau, known for his experimental approach (like last year’s one-take zombie film MadS), employs an interesting technique here. Kurylenko dominates the screen, while other characters are often obscured by masks or abstract imagery. It’s a purposeful choice, but it’s so subtle that many viewers might not even notice. Unfortunately, the monster’s presence overshadows these clever touches, leaving the film’s more nuanced elements underappreciated.
Despite its flaws, Other has its moments. The secluded forest setting is atmospheric, and Kurylenko delivers a compelling performance, proving she’s capable of more than just action roles. However, the pacing drags, and the horror feels sterile outside of a few jump scares. The film’s ending is satisfying, if a bit silly, but the concept feels stretched for a full-length feature. It might have worked better as a short film, where its ideas could have been more tightly focused.
Here’s a thought-provoking question for you: Does Other succeed more as a psychological thriller or a creature feature? Or does it fail by trying to be both? Let’s discuss in the comments—I’m curious to hear your take.
Other begins streaming on Shudder on October 17th, 2025. If you’re a fan of horror that blends psychological depth with visceral scares, it’s worth a watch—just don’t expect it to fully commit to either side of its dual identity.
