Possibly in Michigan

In the dimly lit corridors of an abandoned department store, the ordinary hum of a mall morphs into an echoing labyrinth of shadows and whispered melodies. The setting feels both familiar and unsettling, a place where perfume‑laden aisles become a stage for a strange, song‑driven dread. The film leans into a glossy, almost theatrical horror aesthetic, letting every flicker of fluorescent light and every distant chorus hint at something lurking just beyond the storefront windows.

Sharon and Janice are two young women whose friendship is anchored in a carefree curiosity that quickly turns into a pulse‑quickening chase. Their banter and contrasting attitudes create a dynamic that feels both intimate and tense, drawing the audience into the fragile safety of their everyday world. When a masked figure—Arthur—appears, his presence is designed to feel both alluring and terrifying, a silent predator whose obsession with scent and disguise mirrors the mall’s own veneer of consumerist glamour.

The pursuit spills out of the empty store and into the narrow streets that lead back to the protagonists’ own apartment, where the balance of power begins to shift. What starts as a desperate flight transforms into a chilling, music‑filled confrontation that forces the women to confront the horror on their own terms. The film’s tone remains consistently uneasy, blending the glossy veneer of a shopping mall with a dark, operatic score that underscores the surreal cat‑and‑mouse game, inviting viewers to wonder how far the melody will carry the hunt before the final note is struck.

Last Updated: December 04, 2025 at 16:19