Amityville: A New Generation

In the dim, rain‑slick streets that border a forgotten Skid Row, a struggling artist makes his living capturing moments that most people would rather ignore. Keyes is a successful photographer whose eye for the gritty beauty of the city has earned him both admiration and a precarious place among the building’s eclectic tenants. He shares the cramped, low‑budget boarding house with a handful of fellow creators—a painter who finds solace in color, a sculptor whose hands are forever stained with clay, and Llanie, his steady‑hearted girlfriend whose optimism is a quiet counterpoint to the surrounding decay.

One evening, a solitary homeless man offers Keyes an odd, antiquated mirror—a piece that seems to pulse with a strange allure despite its tarnished surface. The photographer, compelled by an inexplicable fascination, persuades the man to sell it, bringing the tarnished glass into his cramped studio. From that point, the mirror becomes an unsettling presence, its reflective surface inviting more than ordinary contemplation. As the weeks pass, Keyes begins to notice subtle shifts in his own demeanor; the line between the images he captures and the reality he inhabits starts to blur, hinting at a deeper, self‑reflective unease.

The boarding house itself feels almost like a character, its faded walls echoing whispers of past ambitions and hidden anxieties. Within this close‑knit community, the camaraderie among the artists is tinged with an undercurrent of tension, each individual subtly affected by the mirror’s inexplicable pull. The film swirls with a moody, atmospheric dread that leans heavily on visual texture—shadows lengthening across cracked windows, the soft click of a camera shutter, and the low hum of the city outside. As Keyes wrestles with the growing disquiet that settles over his life, the story invites the audience to wonder just how far one can look into a reflection before the image starts looking back.

Last Updated: November 25, 2025 at 15:25