Tom [Jesse Eisenberg] and Gemma [Imogen Poots], a couple with very different lives—him a landscaper, her a primary school teacher—begin with a quiet, unsettling omen from the natural world: a cuckoo’s brood parasitism that ends with them burying a hatchling. Their mundane moment soon shifts to something stranger as they visit a housing development called Yonder, where every house looks the same and the streets loop on forever. They are guided to house number 9 by an unusually polite but unnervingly observant real estate agent named Martin [Jonathan Aris], who even parrots Gemma’s own answer about whether they have children. The moment feels oddly personal, as if he’s probing their private lives with a calm, almost clinical efficiency. After the tour, Martin vanishes without explanation, leaving the couple rattled and unsure of what they saw.
When they try to leave Yonder, they inexplicably find themselves back at the same, identically arranged row of homes, trapped in an endless loop of identical streets that gnaws at their sense of direction. Their attempts to escape escalate into a trap that seems designed to consume time itself. With each failed exit, the world becomes more mechanical and uncanny, until their car’s fuel gauge hits zero and the landscape refuses to relent. They retreat into the house, hoping for a moment of safety, only to be pulled into an even stranger cycle: they sleep, wake, and discover that nothing has changed.
A strange box appears outside the house—this time filled with vacuum-sealed, flavorless food. Tom burns the house in a desperate bid for control, and the couple sleep again, this time on the pavement outside. When morning arrives, the fire has left no damage and a second box appears, this one containing an infant and a single instruction: raise the child to be released. The twist lands with the weight of a fable, turning their lives into a test they never volunteered for and forcing them to confront a future neither wanted nor understood.
Ninety-eight days pass in a rush of rapid, unsettling change. The child grows to the size of a ten-year-old, mimicking Tom and Gemma with eerie precision and shrieking when hungry. The infant is named or treated as a kind of possession by the parents: the child calls Gemma “Mother,” a term she rejects, while Tom refers to the child as “it.” They safeguard themselves in the garden, waiting for a visitor who never appears, while Tom digs a growing hole in the earth and becomes increasingly withdrawn. The Boy—an observer in the background, watching fractal, almost hypnotic patterns on television—begins to emerge into focus as a separate entity, a figure both present and alien in equal measure.
A moment of impulse and fear reshapes their tactics: Tom locks the Boy inside their car in an attempt to lure whoever is delivering the daily food, but Gemma’s empathy wins over fear and she releases him. Tom’s fixation on digging deepens, and he even drifts into sleep in the growing trench. The Boy vanishes for a time and returns with a strange book, full of symbols and drawings of humanoid figures with throat sacs. When Gemma asks the Boy to imitate the person who gave him the book, he answers with rasping sounds and inflates his own throat sacs, a stark image of the world’s strange rules.
As time passes, the Boy matures into a young adult form, while Tom’s health deteriorates. The Boy leaves each day, and Gemma follows in vain, always returning to number 9. The digging continues, and a disturbing discovery—a corpse sealed in a vacuum bag—deepens the sense of doom. The Boy eventually locks Gemma and Tom out of the house, and they sleep in the car, while Gemma pleads for medicine for Tom. The Boy cryptically suggests that perhaps “it’s time he was released.” Tom dies, and the Boy zips him into a vacuum bag and throws it into the hole they have dug.
Recognition dawns that release means death inside this grim loop. Gemma wounds the Boy with the pickaxe, and the Boy hisses before slipping into a labyrinth beneath the sidewalk. She follows him into a corridor of doors that open into multiple rooms in other houses, where more Boys and several strangers populate the eerie tableau, including one person who has taken their own life. Gemma is dragged back to number 9, weak and broken, while the Boy cleans the house and explains, in his own unsettling way, that mothers die after raising their sons. Gemma dies as she is zipped into a vacuum bag, and the Boy buries her alongside Tom, with the grass healing over the grave itself.
The Boy drives back to the real estate office, where an aged Martin lies on his deathbed. He offers the Boy his name tag before dying, and the final act is the Boy zipping Martin into a vacuum bag and dispatching him down a garbage chute disguised as a file drawer. When a new couple walks in the door, the Boy greets them just as Martin did, signaling that the cycle continues, unbroken and inexorable.
