An entrepreneur and his family begin to unravel after moving into an old country manor in England in the 1980s.

Rotten Tomatoes

Heavens. What an encounter, one that is hard to sort, but still an entanglement you should not resist. From the first grainy, desaturated frame of the two family cars parked next to one another, to the last frame of the breakfast table, it is a moody film that makes your skin crawl. The discomfort is amplified by the effortless, yet ominous soundtrack.

Jude Law oozes the used oil of the 1980s banking world, where excess was the air that people breathed. Even his walk is nauseating. Carrie Coon seethes with rage like only she can. She more than held her own next to Justin Theroux in The Leftovers.

The most heart-crushing scenes centre around a horse. He symbolises the family’s hidden illness, their muffled screams, their undoing, and their fury surfacing despite their efforts to bury it.

The ending will disrupt you. It is flawless.

Currently on Showmax. So is The Leftovers.