While trying to spice up their marriage in their remote lake house, Jessie must fight to survive when her husband dies unexpectedly, leaving her handcuffed to their bed frame.
A simple yet proud farmer in the year 1922 conspires to murder his wife for financial gain, convincing his teenage son to assist. But their actions have unintended consequences.
A father and son, both coroners, are pulled into a complex mystery while attempting to identify the body of a young woman, who was apparently harboring dark secrets.
When a harmless game between a married couple in a remote retreat suddenly becomes a harrowing fight for survival, wife Jessie must confront long-buried demons within her own mind - and possibly lurking in the shadows of her seemingly empty house.Written by
Intrepid Pictures
The beer in the film was from Fairhope Brewery in Fairhope, Al. This brewery is located near where the film was shot on location. See more »
Goofs
When Tom is talking to a young Jessie on the shore of the lake, the sun is at 12 o'clock directly behind his back. However, the shadows place the sun at 9 o'clock on his left. See more »
Quotes
Gerald Burlingame:
Isn't this why we came up here? To spice things up and try and push the boundaries?
See more »
Jessie (Carla Gugino) and Gerald (Bruce Greenwood) are a married couple hoping to spice up their sex life by indulging in a salacious weekend away to the countryside. Gerald has the idea to handcuff Jessie to the bed, in an attempt to role play. But things get too rough for Jessie and in the confrontation Gerald has a heart attack while Jessie remains cuffed to the bed. She must now find her way out of an impossible situation, while struggling with her own demons and crumbling psyche.
This one-location drama is intermixed with hallucinations; increasingly unhinged conversations with mental manifestations of oppression and fear, flashbacks, memories and nightmares from a difficult past, a husband dead on the floor and...a hungry dog. The film doesn't lose it's pace or feel sluggish, director Flanagan navigates the different elements of the plot with skill and uses almost every visual aspect to create suspension and a constant feeling of unpredictability. A door left open, a wooden shelf, a glass of water, a book, a paper tag, a leather bag and a mangy dog. The skillful execution of an intense third act, both from Gugino and Flanagan, stumbles into the final stretch and falls a bit short in the end, feeling strained and convoluted. And I'm left feeling that the film got lost in the page to screen translation, and wondering if it worked better on paper.
I have to admit that the main reason for this flick ending up in my Netflix watch-list was Carla Gugino. Unsurprisingly she delivers a fantastic performance, and tackles the difficult and physically restrictive role dynamically. She gives a stirring and impactful execution of a narrative that has more humanity than most horror films at the moment. And even though the film feels a bit clunky towards the end; Gugino's performance, here as well as the rest of the feature, is a big part of what makes it worth watching. (Minor plot point reveal ahead!) As stumbling as the features final steps may be, Flanagan and Gugino work hard to sell it, and Gugino especially; stays on point as she skillfully acts out the unfortunately muddled yet essential message about a woman fighting back against toxic masculinity.
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Jessie (Carla Gugino) and Gerald (Bruce Greenwood) are a married couple hoping to spice up their sex life by indulging in a salacious weekend away to the countryside. Gerald has the idea to handcuff Jessie to the bed, in an attempt to role play. But things get too rough for Jessie and in the confrontation Gerald has a heart attack while Jessie remains cuffed to the bed. She must now find her way out of an impossible situation, while struggling with her own demons and crumbling psyche.
This one-location drama is intermixed with hallucinations; increasingly unhinged conversations with mental manifestations of oppression and fear, flashbacks, memories and nightmares from a difficult past, a husband dead on the floor and...a hungry dog. The film doesn't lose it's pace or feel sluggish, director Flanagan navigates the different elements of the plot with skill and uses almost every visual aspect to create suspension and a constant feeling of unpredictability. A door left open, a wooden shelf, a glass of water, a book, a paper tag, a leather bag and a mangy dog. The skillful execution of an intense third act, both from Gugino and Flanagan, stumbles into the final stretch and falls a bit short in the end, feeling strained and convoluted. And I'm left feeling that the film got lost in the page to screen translation, and wondering if it worked better on paper.
I have to admit that the main reason for this flick ending up in my Netflix watch-list was Carla Gugino. Unsurprisingly she delivers a fantastic performance, and tackles the difficult and physically restrictive role dynamically. She gives a stirring and impactful execution of a narrative that has more humanity than most horror films at the moment. And even though the film feels a bit clunky towards the end; Gugino's performance, here as well as the rest of the feature, is a big part of what makes it worth watching. (Minor plot point reveal ahead!) As stumbling as the features final steps may be, Flanagan and Gugino work hard to sell it, and Gugino especially; stays on point as she skillfully acts out the unfortunately muddled yet essential message about a woman fighting back against toxic masculinity.