The Other proves that effective supernatural horror doesn’t need massive budgets or familiar formulas. Paul Etheredge delivers a genuinely unsettling foster care nightmare that builds slowly but pays off with brutal intensity, anchored by committed performances and practical effects that leave lasting impressions.

Sometimes the most effective horror comes from the places we’re supposed to feel safest. Home. Family. The promise of belonging. The Other understands this fundamental truth and builds an entire supernatural thriller around the devastating gap between good intentions and harsh realities. Writer-director Paul Etheredge, returning to features after his groundbreaking 2004 queer slasher Hellbent, has crafted something genuinely disturbing that lingers long after the credits roll.

Released directly to VOD on Friday the 13th in June 2025 through Quiver Distribution, The Other represents the kind of independent horror that slips quietly onto streaming platforms before building devoted followings through word-of-mouth. Originally titled Psychopomp during production, the film benefits from the involvement of Final Destination creator Jeffrey Reddick as producer and horror veteran Shawnee Smith in a supporting role. Available for rental on Prime Video, Apple TV, and other digital platforms, The Other demands attention from viewers seeking horror that favors psychological buildup over instant gratification.

When Foster Care Becomes a Horror Show: Plot Deep Dive

The Other centers on Robin (Olivia Macklin) and Daniel (Dylan McTee), a married couple whose dreams of parenthood have been repeatedly shattered by miscarriages and infertility struggles. After years of emotional and financial investment in failed attempts to conceive, they decide to pursue foster adoption, specifically requesting a child who needs them most. Enter Kathelia (Avangeline Friedlander), a mute Black girl with a traumatic past that social services describes in carefully vague terms.

From the moment Kathelia arrives at their suburban home, The Other establishes an atmosphere of barely contained unease. Etheredge doesn’t rely on obvious jump scares or supernatural manifestations. Instead, he builds tension through small details that accumulate into genuine dread. Kathelia’s refusal to speak isn’t just selective mutism; it feels like active resistance to her new environment. Her behavior with toys, food, and household objects suggests someone processing trauma in ways that make her new parents increasingly uncomfortable.

The film’s early sections focus on Robin and Daniel’s well-meaning but fundamentally misguided attempts to integrate Kathelia into their lives. They provide her with dolls that don’t reflect her racial identity, fail to understand her cultural background, and approach her trauma with the kind of surface-level empathy that substitutes good intentions for genuine understanding. Etheredge presents these failures without heavy-handed commentary, allowing viewers to recognize the problems while still sympathizing with characters who genuinely want to help.

As The Other progresses, supernatural elements begin manifesting in ways that feel organic rather than imposed. The family’s swimming pool develops an inexplicable pink scum that resists all cleaning attempts. Kitchen knives and power tools disappear from their designated locations, only to be discovered hidden in Kathelia’s room. Strange sounds emanate from the walls at night, and Kathelia’s behavior becomes increasingly erratic and potentially dangerous.

The film’s middle section introduces Fiona (Lily D. Moore), a neighboring girl with Down syndrome who seems to understand Kathelia in ways that her foster parents cannot. Moore, who has Down syndrome herself, brings authentic representation to the role while avoiding the typical “magical disabled person” trope that often appears in supernatural horror. Her character serves as both friend and interpreter for Kathelia, creating moments of genuine connection that highlight what’s missing from the foster family dynamic.

The Other builds toward a climax that reframes everything viewers thought they understood about Kathelia’s situation. Without spoiling the revelation, the film’s final act transforms from family drama into visceral body horror, complete with practical effects that rival much larger budget productions. Etheredge saves his most disturbing imagery for the conclusion, earning the brutal payoff through careful character development and atmospheric buildup.

The film’s ending doesn’t offer easy resolution or conventional catharsis. Instead, it suggests that some traumas cannot be healed through good intentions alone, and that the systems designed to protect vulnerable children often fail them in fundamental ways. The Other concludes on a note of ambiguous hope that feels earned rather than imposed, acknowledging both the damage done and the possibility of healing.

When Trauma Meets Performance: Character Development

Olivia Macklin’s Robin represents the kind of well-meaning liberal who approaches complex social issues with surface-level understanding and unconscious bias. Macklin avoids making Robin purely sympathetic or unsympathetic, instead presenting a woman whose genuine desire to help coexists with fundamental blindness to her own limitations. Robin’s journey involves recognizing that love alone cannot overcome systemic failures and personal trauma.

Dylan McTee’s Daniel provides a different perspective on the foster care process, approaching Kathelia’s integration with practical concerns that often conflict with Robin’s emotional responses. McTee makes Daniel’s growing unease feel rational rather than paranoid, even as supernatural events challenge his faith in logical explanations. His performance grounds the film’s more extreme elements in recognizable human behavior.

Avangeline Friedlander faces the challenging task of playing a character who communicates primarily through behavior and body language. Kathelia’s muteness isn’t just a plot device; it reflects genuine trauma responses that Friedlander conveys through subtle physical acting. Her performance avoids both victimization and demonization, presenting Kathelia as a complex individual whose responses to trauma manifest in ways that challenge her caregivers’ assumptions.

Shawnee Smith brings decades of horror experience to her role as Lizzie, Fiona’s mother and the family’s neighbor. Smith’s presence connects The Other to broader horror traditions while avoiding mere nostalgic casting. Her character provides crucial context for understanding how different families approach disability and acceptance, contrasting with Robin and Daniel’s approach to Kathelia’s trauma.

Lily D. Moore’s Fiona emerges as one of the film’s most important characters despite limited screen time. Moore’s authentic representation of a person with Down syndrome avoids inspiration porn or supernatural mysticism, instead presenting Fiona as someone whose different perspective allows her to understand Kathelia in ways that neurotypical adults cannot. The friendship between Fiona and Kathelia provides the film’s emotional core.

When Independent Means Innovative: Technical Excellence

Etheredge demonstrates remarkable growth as a filmmaker between Hellbent and The Other. Where his debut feature sometimes struggled with budget limitations, The Other maximizes every production dollar through careful planning and creative problem-solving. The film’s visual design creates an atmosphere of suburban comfort gradually corrupted by supernatural intrusion.

The cinematography adopts a naturalistic approach that makes supernatural events feel genuinely unsettling. Rather than relying on stylized horror photography, The Other uses conventional family drama visuals that make the eventual supernatural elements feel like genuine intrusions into normal life. This restraint makes the film’s more extreme moments significantly more effective.

The production design excels in creating a believable suburban environment that slowly reveals its darker aspects. Kathelia’s room becomes increasingly claustrophobic as hidden objects accumulate, while common areas of the house develop an atmosphere of violation that reflects the family’s growing dysfunction. The swimming pool’s pink contamination provides a recurring visual metaphor for corruption that resists easy cleanup.

The practical effects work deserves particular recognition for achieving genuinely disturbing imagery on a limited budget. The film’s climactic body horror sequences rival much more expensive productions through creative use of makeup, puppetry, and old-school techniques. These practical elements create tactile horror that CGI rarely achieves, contributing to the film’s lasting impact.

The sound design creates an atmosphere of domestic unease through subtle manipulation of familiar household sounds. Creaking floors, settling walls, and appliance hums become sources of dread through careful mixing and placement. When supernatural sounds intrude, they feel genuinely otherworldly because they contrast so sharply with the established audio landscape.

When VOD Becomes Essential: Viewing Experience Options

The Other benefits from intimate viewing settings that allow viewers to focus on its subtle atmospheric buildup. The film’s digital release on June 13, 2025, provides immediate access to audiences seeking challenging horror content without requiring theatrical exhibition. At standard VOD rental prices (typically $5.99-$6.99), The Other offers exceptional value for viewers willing to invest in character-driven supernatural horror.

The film’s pacing requires patience from viewers accustomed to instant gratification horror. The Other builds slowly and deliberately, investing time in character relationships before introducing supernatural elements. This approach works better in private viewing settings where viewers can fully engage with the film’s psychological complexity without distraction.

Streaming availability through major VOD platforms including Prime Video, Apple TV, Vudu, and Microsoft Store ensures wide accessibility for interested viewers. The film’s R-rating reflects intense supernatural violence and disturbing thematic content rather than exploitation elements, making it appropriate for mature horror audiences seeking substantial dramatic content.

The digital release strategy allows The Other to find its intended audience without the marketing budget required for wide theatrical distribution. Independent horror often performs better through targeted streaming releases that reach genre enthusiasts willing to seek out challenging content. Word-of-mouth recommendations become crucial for films like The Other that prioritize artistic integrity over commercial accessibility.

When Horror Reflects Reality: Film History Context

The Other arrives during a period of increased awareness about foster care system failures and transracial adoption complexities. The film’s supernatural elements provide metaphorical framework for exploring real-world issues that affect thousands of children and families. By using horror conventions to examine social problems, Etheredge follows traditions established by filmmakers like George Romero and Jordan Peele.

The film connects to broader conversations about representation in horror cinema, particularly regarding disabled characters and foster care narratives. Moore’s authentic portrayal of Fiona provides representation that avoids both inspiration porn and supernatural mysticism, while Friedlander’s Kathelia challenges typical “evil child” tropes by grounding supernatural events in realistic trauma responses.

The Other also reflects growing sophistication in independent horror filmmaking, where limited budgets encourage creative solutions rather than generic formulas. The film’s practical effects work and character-focused storytelling demonstrate how technical constraints can enhance rather than limit artistic expression. This approach connects to recent successes like The House of the Devil and Lake Mungo that prioritize atmosphere over spectacle.

The involvement of Jeffrey Reddick as producer connects The Other to the Final Destination franchise’s tradition of creative death sequences and supernatural logistics. However, Etheredge’s film uses these elements in service of character development rather than elaborate set pieces, suggesting evolution within genre approaches to supernatural horror.

Personal Connection: Why This Resonates

I’ve worked with foster care systems professionally and witnessed firsthand how good intentions can coexist with systemic failures. The Other captures the specific anxiety of adults who want to help vulnerable children but lack the tools or understanding to address complex trauma. The film’s supernatural elements provide metaphorical language for discussing real-world problems that resist simple solutions.

The film’s treatment of transracial adoption feels particularly relevant to current discussions about cultural competency in foster care. Robin and Daniel’s failures aren’t malicious, but they reflect common patterns where predominantly white families approach children of color with assumptions about love conquering cultural differences. The Other doesn’t demonize these characters but shows how their limitations contribute to ongoing trauma.

Etheredge’s approach to disability representation through Lily D. Moore’s casting demonstrates commitment to authentic portrayal rather than symbolic inclusion. Fiona’s Down syndrome informs her character without defining her entirely, creating representation that feels organic rather than tokenistic. This attention to authentic casting reflects growing awareness within independent filmmaking about the importance of authentic representation.

The film’s horror elements provide emotional release for anxieties about family formation, childhood trauma, and social responsibility that many viewers carry but rarely address directly. The Other transforms these concerns into manageable fictional framework that allows for processing difficult emotions in safe contexts.

When Jeffrey Reddick Gets Involved: Production Context

The involvement of Final Destination creator Jeffrey Reddick as producer brings horror credibility to The Other while allowing Etheredge creative freedom to develop his unique vision. Reddick’s experience with supernatural logistics and practical effects sequences clearly influences the film’s approach to horror set pieces, particularly in the climactic sequences that blend body horror with supernatural revelation.

The casting of Shawnee Smith provides another connection to horror tradition, given her iconic roles in the Saw franchise and earlier genre films like The Blob. Smith’s presence adds gravitas to the supporting cast while connecting The Other to broader horror lineage. Her character’s relationship with Fiona provides crucial perspective on how different families approach disability and acceptance.

The production’s 30-day shooting schedule between May and June 2023 demonstrates efficient independent filmmaking that maximizes limited resources through careful planning. The film’s visual quality and performance standards suggest professional experience translating modest budgets into polished results. This efficiency reflects growing sophistication within independent horror production.

Film Mode Entertainment’s acquisition for sales and Quiver Distribution’s digital release strategy position The Other within established independent horror distribution networks. These partnerships ensure appropriate marketing to genre audiences while avoiding mainstream campaigns that might misrepresent the film’s challenging content.

When Horror Gets Social: Thematic Depth

The Other uses supernatural horror conventions to examine complex social issues without becoming preachy or didactic. The film’s approach to foster care system critique emerges through character behavior and supernatural metaphor rather than explicit political commentary. This approach allows viewers to engage with difficult topics through familiar genre framework.

The film’s treatment of racial dynamics in transracial adoption provides nuanced examination of well-meaning white families who adopt children of color without adequate preparation for cultural competency. Kathelia’s resistance to her new environment reflects real challenges faced by children placed in families that don’t understand their backgrounds or trauma histories.

The Other also explores ableism through Fiona’s character and her family’s approach to inclusion. The contrast between Lizzie’s acceptance of Fiona’s differences and Robin and Daniel’s struggle to understand Kathelia’s trauma responses highlights different approaches to supporting children with complex needs. This comparison provides framework for examining how society approaches difference and disability.

The supernatural elements serve as metaphor for trauma’s persistent effects on individuals and systems. Kathelia’s hidden objects and strange behaviors reflect real patterns observed in children processing severe trauma, while the supernatural manifestations provide visual representation of psychological states that resist conventional understanding.

When Low Budget Meets High Concept: Technical Specifications

Digital Release: June 13, 2025 via Quiver Distribution

VOD Availability: Prime Video, Apple TV, Vudu, Microsoft Store, and other major platforms

Rental Price: $5.99-$6.99 (varies by platform)

Purchase Price: $12.99-$14.99 (varies by platform)

Runtime: 95 minutes

Rating: R for supernatural violence, disturbing images, and thematic content

Audio: English 5.1 surround sound

Subtitles: English SDH, Spanish

When Independent Horror Succeeds: Final Thoughts

The Other represents the kind of intelligent independent horror that proves genre filmmaking can address serious social issues without sacrificing entertainment value. Paul Etheredge’s direction demonstrates remarkable growth from his debut feature, creating atmosphere and building character relationships with confidence that serves the story’s supernatural elements.

The film’s approach to foster care and transracial adoption provides necessary complexity to subjects often simplified in popular media. By grounding supernatural horror in realistic family dynamics, The Other creates framework for examining difficult topics through manageable fictional context. The result feels both entertaining and socially conscious without becoming heavy-handed.

The performances throughout capture authentic family dynamics complicated by trauma, good intentions, and systemic failures. Friedlander’s challenging role as Kathelia requires conveying complex emotional states through behavior rather than dialogue, while Macklin and McTee create believable adults whose limitations contribute to family dysfunction despite genuine care.

The Other won’t appeal to viewers seeking immediate thrills or conventional horror satisfaction. The film requires patience with character development and willingness to engage with uncomfortable social realities through supernatural metaphor. But for viewers seeking horror that lingers beyond its runtime, The Other provides genuinely disturbing experience that challenges assumptions about family, trauma, and social responsibility.

The digital release strategy ensures accessibility for the film’s target audience while avoiding the marketing demands of theatrical distribution. Independent horror increasingly relies on streaming platforms to reach audiences willing to seek out challenging content, and The Other benefits from this targeted approach.

Like the best supernatural horror, The Other uses genre conventions to examine human behaviors and social systems that resist conventional dramatic treatment. The film’s supernatural elements provide emotional release for anxieties about childhood trauma, family formation, and social responsibility that many viewers carry but rarely address directly. The result is horror that entertains while encouraging deeper reflection on the subjects it explores.

The Other is now on VOD.

The Other is available for rental and purchase on VOD platforms including Prime Video, Apple TV, and Vudu. For viewers seeking horror that combines social consciousness with genuine scares, this represents essential viewing that demonstrates independent filmmaking’s continued relevance. For more supernatural horror reviews, check out our coverage of recent independent releases and our extensive collection of possession-themed films.