After a suburban father is killed in a car accident, Naomi Wallace, Piercey Dalton — an unemployed mother struggling to support herself and her teenage son Logan — agrees to move into her sister’s secluded mountain chalet until it sells. Naomi Wallace, Piercey Dalton and her husband, Aaron Abrams Brian Wallace, pack up what little they have and head to the house that sits tucked away from the town, surrounded by silent trees and a wind that seems to carry whispers. Soon they settle into a routine that feels safer on the surface but grows increasingly uneasy as the days pass.
Together with her teenage son Logan Wallace, Dylan Minnette, Naomi begins to make the chalet feel like a home again, even as the weight of their situation presses down. The place is quiet, nearly perfect in its beauty, but the quiet is quickly interrupted by a series of odd, unsettling moments. They are greeted by their elderly neighbor Martha, Patricia Bethune, whose chatter tilts between warmth and something edged with fear, and by Chris, Sharif Atkins, a pleasant but persistent store clerk who seems to know more than he should about the house and its past. The open house routine—Naomi and Logan must leave the property at breakfast and return after 5 p.m.—begins to feel like a strange ritual rather than a practical plan.
From the first full day, strange occurrences creep into their daily life. Objects mysteriously shift, the home phone rings with nobody on the line, the pilot to the hot water tank repeatedly shuts off, and there are odd, unexplained noises that rattle the quiet of the chalet. Logan notices a car idling in the driveway one night, and when he steps outside, Martha appears, behaving erratically as if she’s seen something no one else can see. Her words later hint that her husband may still be alive, flipping the script on what Naomi and Logan have already accepted about the world around them.
Seeking an explanation, a repairman—Paul Rae—is called to inspect the faulty hot water tank. He confirms that Martha’s husband did indeed die, and he gently hints that Martha may be dealing with Alzheimer’s, which helps explain the strange, disjointed memories that accompany her behavior. Naomi, meanwhile, discovers a crumpled family photo in the trash, a detail that deepens her sense that someone may be sabotaging her sense of reality. The repairman also finds Logan’s missing phone near the water heater, a clue that feeds Naomi’s fear that Logan has been meddling or destroying things for reasons she doesn’t understand. A heated argument erupts between mother and son, each convinced they’re being driven toward a breaking point, and the other insists they’re not to blame.
That night, a new threat reveals itself: an intruder lurks inside the house. The sense of safety they built begins to crumble as Naomi and Logan realize they are not alone. Later, Naomi and Logan return from another open house to find the chalet broken into and a candlelit dinner arranged on the table, a staged tableau that suggests someone has been watching them with unsettling patience. The police arrive and find nothing concrete, leaving Naomi with the uneasy sense that they’re trapped in a house that isn’t as empty as it seems.
With limited money, they can't afford a hotel, so Naomi and Logan press on, tightening their daily lives around the fear that the intruder could return at any moment. Logan reaches out to Chris for help, and Chris agrees to spend the night on the couch to protect them, though the situation remains fragile. The night of Chris’s stay becomes a nightmare when he disappears, and Logan discovers him in his car with his throat slashed—a brutal, shocking violation that alters the balance of fear for the family.
In the chaos that follows, an unidentified man—The Man in Black—knocks Logan unconscious, pours water over him, and leaves him to contend with the brutal cold of the winter outside while he goes after Naomi. Naomi survives the initial attack but is bound and tortured, and Logan wakes to find that all phones have had their SIM cards removed and snapped when he tries to call for help. He rushes to aid his mother, but in a desperate, panicked moment he mistakes her for the intruder and stabs her. Naomi, collapsing, tells him to run, even as the intruder’s presence seems to tighten around them like a noose.
The attack leaves Logan blinded in one sense—his contact lenses are removed, leaving him unable to see clearly—and he stumbles into the freezing woods. He endures the brutal night, fighting against hypothermia until the pale light of dawn arrives. Dragging himself toward a stream, he finally finds a shred of hope in a glimmer of water. But the intruder reveals himself, seizes Logan in the cold, and, with cold efficiency, strangles him to death. The scene closes with the lifeless body of Logan by the stream as the intruder drives away to the next open house, leaving Naomi and Logan’s story suspended in a deep, chilling silence.
In this house that seems to hold a quiet beauty, the line between reality and fear blurs until it becomes almost indistinguishable. The chalet’s walls, once a sanctuary, echo with the footprints of those who came before and those who arrived with the motive to seize what little stability Naomi and Logan have left. The plot threads—unanswered questions about Martha’s memory, the intruder’s true identity, and the uncanny events that punctuate their days—linger, suggesting that some homes can become prisons as easily as they can become havens. And as the final image lingers on the open road that leads away from the chalet, the sense remains that danger is not merely in what is seen, but in what is heard, felt, and suspected in the quiet, snow-bound hours that follow the open houses.
