Year: 1982
Runtime: 91 mins
Language: English
Director: Roger Christian
He can force others to endure his own nightmares, projecting them directly into their minds. A deeply troubled telepath, he transmits his dreams and disturbing visions to anyone nearby, blurring the line between reality and his dark subconscious and leaving his victims haunted by his nightmarish imagination.
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A young, disheveled-looking man wakes on the side of a road as passing traffic rolls by. He walks to a nearby lake and, in a desperate attempt to end his life, clothes himself with heavy rocks and steps into the water. He is pulled out and taken to a nearby mental hospital, diagnosed with retrograde amnesia. He cannot recall his name or most details of his life, save for the fact that he lives in a house within a few miles and that he has no father to speak of. He is identified as John Doe #83, Zeljko Ivanek, and placed under the care of psychiatrist Dr Gail Farmer, Kathryn Harrold. From the start, John’s presence unsettles the ward, and he begins to show odd, unsettling behavior. A fellow patient, nicknamed The Messiah Sean Hewitt, quickly fixes on a brutal delusion: that he intends to behead John.
That night, Gail’s house is rattled by a broken window and the intrusion of a necklace stolen from her nightstand. When she reports the break-in, the police find no evidence, and hospital colleagues insist John is fast asleep in his dormitory. Gail grows convinced that John possesses some form of telepathy, a power through which he can “send” his dreams into others and induce semi-corporeal sensory experiences during sleep. Her hypothesis is met with skepticism by Dr Denman, Dr Joseph Denman, Paul Freeman, who argues that Gail is letting maternal feelings for her patient cloud her judgment and plans to subject John to electroshock therapy against her wishes. Throughout this turmoil, a haunting figure named Jerolyn, a middle-aged woman who claims to be John’s mother, appears to Gail in visions, urging her to release John for the sake of everyone involved, before vanishing again.
After a second suicide attempt, John is placed under electroshock therapy in the hospital’s surgical ward. The moment the current starts, John unconsciously projects violent, destructive visions toward everyone in the room. Gail rushes in, removing the electrodes, and Denman’s plan to treat John with electricity is put on hold as Gail’s telepathic theory gains some credibility. Denman intensifies his study, while Gail continues to be haunted by visions of Jerolyn and other images that seem to be memories resurfacing from John’s subconscious. She theorizes that the visions are repressed memories of trauma; John later reveals that his mother used to lock him away in the house, a revelation that deepens the mystery of Jerolyn. Jerolyn, who believed John to be a miraculous virgin birth, kept him confined for years and even attempted to kill him with carbon monoxide poisoning when she feared he might leave.
As John’s telepathic forces grow stronger, he begins to send his thoughts even while he’s conscious. Gail’s insistence on exploring this possibility clashes with Denman’s procedural approach, and the situation escalates to a dramatic intervention: the hospital contemplates an intracranial operation to locate and neutralize the receptors behind his powers. Just before the operation begins, Sheriff Prouty, Angus MacInnes, arrives with news—John’s house and his mother have been found, but Jerolyn has died of carbon monoxide poisoning five days earlier, implying that John’s mother was killed by John’s defense against her manipulation. John is placed under guard, and the operation proceeds. When the surgeons drill into his skull, John lashes out again, triggering a blaze that rips through the surgical ward. In the ensuing chaos, he steals Gail’s car keys and escapes, guided by a vision of his mother.
The chase leads them back to the house, where John confronts a terrifying scene: he turns on the gas stove to purge a swarm of cockroaches, and the tension peaks as he realizes that his mother’s influence may still be pushing him toward self-destruction. Gail bursts in just in time to drag a suffocating John away, and Jerolyn’s spectral presence pursues them as the house erupts into flames and explodes behind them. The danger seems momentarily to subside as morning light returns.
In the aftermath, John slowly reconstructs his memories. He explains that his mother indeed tried to kill him, and in the moment of realization he fought back, knocking her unconscious and leaving her to suffocate while he fled. He acknowledges that his id temporarily manifested as a projection of his mother, attempting to push him toward suicide on several occasions. Seemingly on the road to recovery, John leaves the hospital, but the final image is chilling: he climbs into his truck with his mother sitting beside him, a clear indication that the old trauma—along with his entire condition—remains a volatile, ongoing presence in his life.
Last Updated: October 09, 2025 at 14:49
Discover curated groups of movies connected by mood, themes, and story style. Browse collections built around emotion, atmosphere, and narrative focus to easily find films that match what you feel like watching right now.
Stories where extraordinary abilities are a source of deep trauma and terror.If you liked The Sender, explore more movies where supernatural abilities are a source of psychological terror. These films feature characters grappling with uncontrollable powers that stem from trauma, creating a dark and intense viewing experience similar to the psychic dread found in The Sender.
Narratives in this thread typically follow a character whose innate supernatural power is a direct manifestation of their unresolved psychological trauma. The plot revolves around their struggle for control as their abilities project their inner turmoil onto the world, often causing harm to themselves and others, and forcing a confrontation with a painful past.
Movies are grouped here because they share a core premise: supernatural powers as a metaphor for severe psychological distress. They combine the tension of horror with the heavy emotional weight of character studies, creating a uniquely disturbing experience centered on the fear within one's own mind.
Tense stories set within oppressive institutions that amplify mental fragility.Find more films like The Sender that use psychiatric hospitals or confined institutions to build tension. These movies trap characters in oppressive settings that mirror their internal turmoil, perfect for viewers seeking that specific vibe of institutional dread and psychological unraveling.
The narrative pattern involves a character, often a patient, who is confined within an institution that is supposed to help but instead exacerbates their condition. The story unfolds as a battle for sanity against an environment that is at best indifferent and at worst malevolent, where the line between treatment and torment is blurred.
These movies are grouped by their shared use of a confined institutional setting as a primary source of tension. The combination of clinical sterility, authoritarian control, and the vulnerability of the characters creates a uniquely oppressive and anxious mood, focusing on the fragility of the mind under pressure.
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