This is a solid psychological horror film. My personal feelings about Halloween are complicated; I appreciate that it’s a tradition cherished by Americans and the British, just as I respect traditions like Dia de Los Muertos. But in my country, this particular holiday simply doesn't exist. I only became aware of it roughly fifteen years ago, thanks to an unfortunate combination of commercial interests—always eager to sell leftover Carnival decorations—and the homogenizing effects of globalization, which tends to dilute cultural differences into a bland mix. We have our own Catholic observances: All Saints’ Day and then the Feast of the Dead, with visits to cemeteries. For those who aren't religious or don’t have loved ones buried there, it might just be like any other time of year. But enough about that! As you can probably guess, I watched this movie during Halloween season, and I was quite pleased with what I saw. Despite the involvement of Sérgio Sánchez, responsible for both the script and ensuring skillful direction, and despite being filmed and produced in Spain, the film features actors speaking English and the entire story unfolds in the United States. The narrative begins with a mother arriving at her family’s long-abandoned home with her children. It's immediately clear that they are fleeing from an abusive husband/father left behind in Europe. Things seem to be going well until the mother dies, leaving the children under the care of their oldest sibling. They then attempt to conceal her death until he turns 21, at which point he’ll legally become their guardian and ensure they remain together. The script offers much more than just a family drama about siblings sticking together while facing an abusive father. A sense of dread permeates the decaying house itself, where something else is lurking—a dark secret hidden somewhere on the upper floor, completely out of reach. The young orphans’ interactions with Allie, their closest neighbor, and with a lawyer from the nearby town will trigger new developments that reveal more about them and what truly resides in that isolated home. The film is full of unexpected turns, some of which genuinely surprised me. George MacKay delivers an outstanding performance as the central character, offering a profound and sometimes unsettling portrayal. While the overall cast performs well, he really stands out and commands attention whenever he’s on screen. Charlie Heaton also makes a valuable contribution, particularly in his scenes with MacKay, especially during their conflicts. Tom Fisher is effective as the antagonist, even though he expressed disappointment that his character was lacking depth and reduced to a monstrous figure driven by an urge to harm children. Anya Taylor-Joy's presence adds something pleasant, but her role is relatively minor. From a technical standpoint, the film relies heavily on cinematography, location choices, sound design, and set decoration. The photography uses cool colors, foggy days, and dim lighting—both inside the house and from candles—to create a tense and appropriately gloomy atmosphere, which is amplified by well-executed sound effects and the dilapidated country estate setting. As in many other scary house movies, the house itself becomes an additional character, possessing its own distinct personality, history, and peculiarities. The costumes and cars help establish the film's time period (the 1950s). However, it would have benefited from a more impactful and memorable musical score.

Source on TMDB