For many of us, part of our daily routine involves stepping outside our homes for a variety of reasons – be it for our jobs, for appointments, or to send our kids off to school or activities. It’s a normal, repetitive aspect of human existence to have to cross the threshold of our private domiciles and interact with the outside world.

What happens, though, when the mere thought of this aspect becomes something of paralyzing, all-consuming fear? When you can’t leave the one place that provides you with safety and comfort, not even for a minute? Girl Upstairs, directed by Kevin Van Stevenson, explores the notion of this fear, and how it can affect every facet of one’s life, and the lives of anyone around them.

Dulce (Holly Blair) is an artist who suffers from an extreme form of Agoraphobia, which renders her incapable of ever leaving her dilapidated apartment. She spends her days locked inside her dwelling, creating unique paintings that somehow manage to be sold to the outside world. 

Through flashes of her frequent nightmares, we get glimpses into the reasons behind her affliction, which gives us a better understanding into who she is, and what she’s been through. Despite her crippling fear of what lies beyond her walls, she still longs for human connection, which makes for an intriguing dichotomy.

When one of her paintings inexplicably comes to life in the form of a man she names Webster (Gustavo Cintra), Dulce is suddenly faced with that which she both fears and desires, which leads her down a difficult, treacherous road. When she begins to play with this concept in ways that are both careless and dangerous, she is faced with the ramifications of her decisions, which affect not just her, but her new creations as well.

Girl Upstairs is a compelling deep dive into mental illness through a fantastical lens that blends  facets of both horror and realism. We get to know Dulce in intimate ways very early on, which aids us in caring about who she is, and pulls us into her isolated world. Once the stakes are raised with the appearance of Webster, and, later on, another creation named Mimi (Sara Catherine Bellamy), the story swiftly turns into a dark examination of the repercussions of our most intimate inclinations. 

The performances from Blair, Cintra, and Bellamy are what truly carry this film. Each gives an authentic portrayal of their character, which all manage to find a way to make the audience feel sympathy for them. Blair is captivating as Dulce, particularly when we see her toggle from ambivalent and comfortable, to panicked and tortured in a matter of moments. Cintra’s portrayal of Webster is especially engrossing, delivering a near-silent rendition of his character while still exuding emotion and empathy. 

This is a film that grips you early on, keeps you guessing, then leaves you wondering what the heck you just watched. In the thriller/horror realm though, is there more you can ask for? Stevenson, along with writer John Gee bring their expertise in storytelling by making you immediately care for the character, then slowly begin to question everything you feel.

Though there’s enough ambiguity when everything wraps up for the audience to come up with their own conclusions, there’s also a tidbit of wanting more, based solely on the fact that by the time you’re fully immersed, it feels as though the rug is pulled from under you.

Overall, this is an interesting and affecting look at one woman’s plight against past and current trauma, and her yearning for something more, and the ramifications that come from those feelings.

8 Out of 10