House of Good and Evil

In the wake of a personal tragedy, a couple seeks a fresh start far from the bustle of city life, purchasing a sprawling, half‑finished house tucked deep in the woods of rural Virginia. The property, newly converted into a duplex, promises seclusion and the chance to mend frayed bonds, yet its remote location comes with practical challenges—storm‑racked roads, unreliable cell service, and the need for a generator. The house itself exudes an unsettling quiet, its walls hinting at hidden histories that linger just beyond the reach of daylight.

Chris, a steady‑hearted firefighter, arrives intent on rebuilding a marriage that has been strained by loss and conflict. His partner, Maggie, carries the weight of grief and the lingering pain of a miscarriage, oscillating between yearning for stability and confronting the raw edges of her sorrow. Their differing coping mechanisms spark tension: while Chris leans on routine and practicality, Maggie wrestles with restless dreams and an uncanny pull toward the house’s concealed corners. Their dynamic is a fragile dance of support and misunderstanding, set against the backdrop of a new beginning that feels both hopeful and precarious.

Sharing the property are the Andersons, an elderly couple whose quiet presence adds another layer to the home’s odd rhythm. Their own rhythms echo the house’s hushed tone, and subtle, inexplicable disturbances—faint telephone rings, strange noises in the trees—suggest that something unseen may be stirring within the walls. The atmosphere teeters between rustic charm and creeping dread, inviting the Conleys to question whether the true darkness lies in the house, in their own pasts, or in the way the woods seem to listen. The film’s tone blends psychological unease with a slow‑burning horror, leaving the audience to wonder what shadows the secluded home will reveal as the couple strives to protect each other and their fragile hopes.

Last Updated: September 26, 2025 at 04:36