Film
The House of the Devil
- Horror
- Very dark
A retro-styled 1980s horror film about a broke college student who accepts a babysitting gig with deeply wrong people on the night of a lunar eclipse. Deliberately paced, gorgeously shot, and suffused with creeping dread. For people who believe atmosphere matters more than jump scares.
Should you watch it?
Watch it if you love slow-burn horror that builds dread through atmosphere, period detail and long quiet stretches, the way early-80s Satanic-panic films did before anything bleeds.
Skip it if you need the scares to arrive steadily, since this takes a long, deliberate route to its first real jolt and many viewers will find the wait tedious rather than tense.
What it asks of you: Ninety-five minutes of patience: it moves at a crawl through everyday tasks, lets silences run, and saves its darkness for a late stretch, so you have to be willing to sit in the unease.
Not sure? Find tonight's pick in a minute.
If you liked this
Mulholland Drive2001
A nightmarish descent into paranoia and obsession, structured to burrow under your skin and stay there. Gorgeous, bewildering, terrifying in ways that have nothing to do with monsters.
But Two hours forty-seven minutes of David Lynch being deliberately cryptic. Patience is not optional.

The Wailing2016
A murder mystery that becomes a theological crisis. Gorgeously made, genuinely unsettling, and refuses to offer easy answers. Keeps you thinking for weeks.
But Nearly three hours long. Demands active attention and rewards it with ambiguity that some will find infuriating rather than brilliant.

Rosemary's Baby1968
The template for paranoia horror. Polanski creates dread through isolation and misdirection rather than gore. Mia Farrow is luminous and vulnerable, and the ending is devastating.
But 1960s pacing means long stretches of slow-burn buildup. Nothing happens until everything does.

Not sure tonight? Get a pick in a minute, starting from The House of the Devil
The wildcard
Something you would not have found on your own.
Carnival of Souls1962
Both are period-conscious horror films that use their era's aesthetic as an active ingredient. Both trust atmosphere and isolation over spectacle. Both make dread feel architectural.
An obscure, grainy black-and-white film that predates most of what modern horror borrows from. A woman begins forgetting she's alive—surreal, poetic, and haunts you quietly. Shot on a shoestring but looks like a nightmare.
But The picture quality is poor. Low budget means no money for anything you'd recognize as a set. It's austere to the point of austerity.

More like this (8)
It Comes at Night2017
A family in crisis waiting for apocalypse. Brilliant sound design, genuine tension, and performances that ache with anxiety. Asks what we'll become when we're afraid.
But Deliberately ambiguous and pessimistic. If you want resolution or catharsis, this will frustrate you.

Lake Mungo2009
A found-footage ghost story that breaks its own format to tell something genuinely haunting. Low-budget Australian filmmaking at its finest. Achingly sad and wrong.
But The pacing is glacial. Some scenes feel like they're testing whether you're still paying attention.

Sinister2012
A horror film genuinely committed to atmosphere and dread. Ethan Hawke hunted by something incomprehensibly malign. The images stick with you in the dark.
But More interested in mood than logic. The plot has holes that will annoy anyone who needs things to make sense.

Funny Games1997
A home-invasion film that subverts the entire genre by forcing you to confront what you came to watch. Haneke is a filmmaker of steel and will. Unforgettable and unsettling.
But Cruel and punishing by design. Remorseless, and if you watch it, you're complicit. Not fun, ever.

The Babadook2014
An Australian creature feature that is really about grief and motherhood. Gorgeous monster design, strong performances, and more emotional nuance than mainstream horror usually bothers with.
But Some find the protagonist exhausting. The creature-design payoff won't satisfy those who prefer practical effects or clarity.

Nocturne2019
A short, elegant horror-thriller about artistic ambition and a haunted piano. Stylish, strange, and genuinely creepy. Proves you don't need length to build dread.
But The ambition sometimes outpaces the execution. The atmosphere can feel more interesting than what actually happens.

Come True2020
Both feature young, financially desperate protagonists trapped by adults in authority. Both use their visual style as character. Both understand that the worst horror is being trapped in a situation you can't quite name.
A science-fiction film about sleep deprivation and a student in a secret experiment that goes sideways. Neon-soaked, synth-heavy, hypnotic. A slow-burn that builds to something genuinely upsetting and strange.
But Genre-bending makes it hard to know what to expect. If you want clear plotting or satisfying closure, this will disappoint.

A Dark Song2016
Both films make terror inseparable from isolation and vulnerability. Both treat their settings (a house, a ritual space) as almost characters themselves. Both understand that what we fear most is powerlessness in the hands of someone else's will.
An Irish horror-drama about grief and faith. A woman hires an occultist to perform a dangerous ritual. Genuinely moving, strangely intimate, and the ending is transcendent. Misses none of the notes it's reaching for.
But It's a quiet, character-driven drama that happens to involve the supernatural. If you need plot propulsion or action, you'll be disappointed.

People
Cast
Jocelin DonahueSamantha
Tom NoonanMr. Ulman
Mary WoronovMrs. Ulman
Greta GerwigMegan
AJ BowenVictor Ulman
Dee WallaceLandlady- Heather RobbHeather
- Darryl NauRandom Guy
Brenda CooneyNurse
Ti WestFavorite Teacher
John SperedakosTed Stephen
Lena Dunham911 Operator (voice)
Directing
- Ti WestDirector
- Zeke DunnFirst Assistant Director
- Dustin BrickerScript Supervisor
- Kamen VelkovskySecond Assistant Director
- Melinda ZiyadatSecond Second Assistant Director
- Graham ReznickSecond Unit Director
Writing
- Ti WestWriter
Production
- Lisa FieldsCasting
- Derek CurlCo-Producer
- Badie AliExecutive Producer
- Greg NewmanExecutive Producer
- Hamza AliExecutive Producer
- Malik B. AliExecutive Producer
- Justin BensonLocation Assistant
- William M. BradleyLocation Assistant
- Christopher MengesLocation Manager
- Josh BraunProducer
- Larry FessendenProducer
- Peter PhokProducer
- Roger KassProducer
- Markus GoetzeProduction Accountant
- Kevin R. ShieldsProduction Coordinator
- Jacob JaffkeProduction Manager
- Brent KunkleProduction Supervisor
- Jacob JaffkeUnit Production Manager
Recommended by
"MANOS" The Hands of Fate, Martyrs, The Devil's Candy, Demon, Dead Souls, The Shelter