The Others

In the shadowed hills of post‑war England, a secluded manor clings to the mist‑laden coastline of Jersey, its rooms lit only by the dim glow of candle and fire. Here lives Grace, a devout Catholic mother whose life has narrowed to protecting her two young children from the deadly touch of sunlight. Anne and Nicholas suffer from a rare condition that forces the family into a perpetual twilight, and every rule in the house is designed to keep the harsh daylight at bay. The quiet routine of prayer, whispered lullabies, and careful shutters creates a world that feels both safe and suffocating, a sanctuary built on fear and faith.

When three new servants arrive—Mrs. Bertha Mills, a stern nanny; Mr. Edmund Tuttle, an old gardener; and Lydia, a mute young girl—the house’s careful balance begins to tremble. The children’s vivid imaginations, fueled by the isolation, manifest in unsettling drawings of unseen figures and whispered stories that echo through the corridors. Grace strives to dismiss these tales, yet the creaking floors, distant piano notes, and doors that seem to breathe their own life sow seeds of doubt. The dynamic between the protective mother, her sensitive children, and the enigmatic staff creates a tense, almost theatrical tableau, each character moving within the narrow beam of dim light.

The film unfolds in a slow‑burning, gothic atmosphere where the line between reality and perception is constantly blurred. The austere elegance of the manor, the ever‑present fog, and the muted colors of a world without sun combine to heighten a sense of lingering dread. Within this isolated realm, Grace’s rigid devotion clashes with the growing unease that something—perhaps memories, perhaps something more—lurks just beyond the shutters, urging the audience to wonder what truths lie hidden in the house’s perpetual twilight.

Last Updated: August 10, 2025 at 11:40