Wan draws heavily from Italian giallo films and Polanski’s Rosemary’s Baby . He uses wide angles to make ordinary rooms feel cavernous, and his camera moves slowly, forcing viewers to scan every corner of the frame. This technique creates “found terror”—you’re afraid to look, but you must.

As months pass, the house becomes a playground for the paranormal: pace the hallways. Whispers crackle through the baby monitor. Violent encounters leave Renai terrified and desperate.

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