The Mannequin

The final act reveals that the true menace behind the gruesome deaths is not a vengeful spirit but the mannequin itself—a grotesque artifact created by the 1950s photographer Jack Bernard. Bernard had once lured young women to his studio, murdered them, and stuffed their severed limbs inside a hollow dummy, turning his twisted idea of “perfect” beauty into a literal Frankenstein. When the sisters move into the old factory, the mannequin, still infused with Bernard’s malevolent obsession, awakens and begins hunting anyone who steps inside.

Liana’s former boyfriend‑vlogger Peter uncovers the dark history and, after dismantling the figure, discovers the macabre collection of body parts hidden within. But the mannequin’s movements are not autonomous; the new owner of the property, Jack Bernard III, is a budding writer‑director who has inherited his ancestor’s sick fascination. He rents the space to the women, subtly encouraging their stay, and uses the reassembled mannequin as a weapon to carve up new victims, planning to dramatize the horror in his own screenplay titled The Mannequin.

After a frantic confrontation in which the surviving friends manage to escape the house, the film cuts to a quiet, somber scene at the gravesite where they mourn Sophia. The camera then pulls back to the empty studio, where the mannequin—now repaired but still cracked—sits motionless, waiting for its next “model.” In the closing shot, Jack III hands the keys to a new tenant, a female photographer, implying that the cycle of exploitation and murder is about to begin again. The ending leaves the audience with the unsettling notion that the horror is less about a haunted object and more about a continuing legacy of male artists converting women into objects for their twisted art.

Last Updated: December 27, 2025 at 21:41