David Moreau, best known for his sleek genre work (Them, The Eye, It Boy), returns to the psychological horror fold with Other — a moody, paranoia-laden mystery that tries to blend domestic trauma with techno-surveillance dread. On paper, it’s an enticing setup: Olga Kurylenko’s Alice returns to her childhood home following her mother’s sudden death, only to find herself under constant watch by a high-tech system that seems to know more about her than she does. What unfolds is a slow burn of suspicion and shadow, where the hum of hidden cameras replaces the creak of haunted floorboards.

There’s an admirable restraint in Moreau’s direction. He builds atmosphere through cold precision — lingering frames, muted lighting, and uneasy stillness — but the payoff rarely matches the setup. The house itself, eerie and static, becomes a sterile stage rather than a vessel for emotional tension. Kurylenko shoulders most of the film’s weight, her performance caught between brittle vulnerability and steely detachment, yet the script gives her little room to evolve beyond a cipher.

Hints of a darker, more personal horror flicker beneath the surface — grief, guilt, and identity all swirl in the static — but the film never fully tunes in. Other wants to be a modern ghost story for the surveillance age, but it feels more like a polished echo of better work.

While there are moments that capture Moreau’s visual confidence — particularly in how the camera mirrors Alice’s fractured psyche — the pacing drags, and the final revelation lands without the intended sting. After last year’s MADS, this feels like a creative step backward: beautifully shot, conceptually intriguing, but emotionally hollow.

The Prognosis:

A technically sleek yet curiously empty thriller. Other watches its heroine fall apart but forgets to make us care what she finds in the end.

• Saul Muerte