Grief does weird things to your head. It makes you desperate. You start looking for any exit ramp from the pain, even if that ramp leads somewhere dark. That’s basically the engine behind The Other Side of the Door movie, a 2016 supernatural horror flick that, honestly, didn't get nearly enough credit when it first dropped. Directed by Johannes Roberts—who later went on to do the 47 Meters Down series—it’s a movie that uses the "be careful what you wish for" trope but sets it against the vivid, sweaty, and often terrifying backdrop of Mumbai.
Sarah Wayne Callies plays Maria, a mother who is absolutely drowning in guilt. She lost her son, Oliver, in a horrific car accident where she had to make a choice that no parent should ever face. It’s heavy stuff. Like, really heavy. The movie doesn't shy away from the visceral reality of that loss. When she hears about a ritual that allows her to speak to her dead son one last time through a temple door, she jumps at it. The catch? You can’t open the door. You just can't.
But, of course, she does.
The Cultural Layer Most People Miss
What sets The Other Side of the Door movie apart from your run-of-the-mill poltergeist story is its setting. It isn't some creaky house in New England. It's India. The film leans hard into local folklore, specifically the idea of the Aghori—ascetic Shaiva sadhus who are often associated with post-mortem rituals.
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The movie treats the location as more than just a postcard. The humidity is palpable. The crowded streets feel claustrophobic. It’s this specific atmosphere that gives the supernatural elements weight. When Maria travels to that abandoned temple in the middle of nowhere, it feels earned. The "gatekeeper" of the dead, Myrtu, is a terrifying creation that draws on Hindu imagery but twists it into something cinematic and ghoulish. Myrtu isn't just a ghost; she’s a force of nature reclaiming what was supposed to stay on the other side.
The production design team really nailed the temple. It looks ancient. It looks like a place where the veil is thin. Most western horror movies rely on shadows, but this one uses the bright, harsh sunlight of India to make the scary bits feel even more exposed.
Let’s Talk About That Ending
If you've seen it, you know. If you haven't, well, the logic of the film follows a very traditional folk-horror trajectory. In The Other Side of the Door movie, the consequences of Maria's actions aren't just limited to her. Her daughter, Lucy, becomes a vessel.
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There is a specific kind of dread that builds when you realize the "boy" Maria brought back isn't really her son. It’s a classic trope, sure. We’ve seen it in Pet Sematary. We’ve seen it in The Monkey’s Paw. But here, it feels more intimate because Sarah Wayne Callies sells the absolute hell out of the maternal longing. You almost want her to open the door, even though you’re screaming at the screen for her to stay away from it.
The final twist is a gut punch. It’s cynical. It’s dark. It suggests a cycle of grief that can never be broken, only passed down or traded. It turns the movie from a standard jump-scare fest into a genuine tragedy.
Why It Works Better Than You Remember
The pacing is weirdly effective. It starts slow, almost like a prestige drama about a family falling apart, then shifts into high gear once the supernatural elements kick in.
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- The Sound Design: The whispering behind the door is legitimately unsettling. It’s not just loud bangs; it’s the sound of a child’s voice sounding just slightly off.
- Jeremy Sisto: He plays the husband, Michael, and provides the necessary groundedness. He’s the skeptic, but not in an annoying "I refuse to see the ghost standing in front of me" way. He’s just a guy trying to keep his family together.
- The Myrtu Design: Multiple arms, skittering movements, and that grey, ash-covered skin. It’s an image that sticks with you.
Critics at the time were somewhat split. Some felt it leaned too hard on "orientalism," using a foreign culture as a spooky backdrop. That's a valid critique to consider. However, others praised it for being a tight, effective genre piece that actually explores the psychology of a grieving mother rather than just using her as a vehicle for scares.
Actionable Takeaways for Horror Fans
If you are looking to revisit this one or watch it for the first time, keep a few things in mind to get the most out of the experience:
- Watch the Background: Johannes Roberts is great at hiding things in the frame. There are several scenes where you can see the "forest people" (the Aghori) lurking in the corners of the screen long before the characters notice them.
- Research the Aghori: To appreciate the film's roots, look into the actual history of the Aghori in India. While the movie takes massive creative liberties for the sake of horror, the real-life sect has a fascinating and complex history that adds a layer of reality to the film's "scary" elements.
- Double Feature Suggestion: If you liked the "grief-driven horror" aspect, pair The Other Side of the Door movie with The Babadook or Hereditary. It’s fascinating to see how different cultures and directors handle the intersection of mental health and the supernatural.
- Check the Sound System: This is a "headphone" movie. The directional audio used for the voices behind the door is a huge part of the tension.
The film serves as a stark reminder that some doors are closed for a reason. In the world of horror, the scariest thing isn't what's hiding in the dark; it's what we're willing to invite in because we're too broken to say goodbye. It’s a solid entry in the mid-2010s horror catalog that deserves a spot on your "underrated" list.
Before your next horror movie night, check the streaming availability for The Other Side of the Door movie on platforms like Disney+, Hulu, or Amazon Prime, as its licensing tends to hop around. It’s best viewed late at night, with the lights off, and—ideally—with all your doors firmly locked.