Alex and Todd Greenlee’s Home with a View of the Monster keeps audiences on their toes. A trippy exercise in the horror of the bizarre, the film’s visuals and fragmented narrative begs for multiple viewings to unpack all of the script’s layers. Broken into five chapters, a stylistic choice that is reminiscent of the structure of a Tarantino film, the narrative unfolds in a disjointed fashion and explores the psyches of its central characters.

Home with a View of the Monster introduces us to interracial couple Rita and Dennis (Ellen Humphreys and Sebastian Charmant) on a camping trip. Humphreys’ and Charmant’s chemistry is instantly likable. Even as Dennis and Rita discuss their worries, including wanting a child but not being able to have one, audiences are able to empathize with them. Rita also details her idea for a children’s monster book, which takes on a thematic undertone as elements of the story are recalled throughout the film.

Upon returning home early from their trip, they find that the car of one of the guests they had rented out their house to over the weekend via an AirBnB-type app, is still in the driveway. Upon entering, they find a suitcase in the living room with a travel lock on it and the door to the master bathroom locked. Rita is also unable to reach the guests by phone.

The eerieness of the scenario is escalated further by frenetic editing that keeps the viewer engaged, unsure whether something may reveal itself in the blink of an eye. But moments can be just as revealing when the camera is stationary. At one point as Dennis and Rita sit outside on the dock at the edge of their property, a stranger moves in the background carrying an axe. This mysterious person is Chance (Jasper Hammer). They find him about to break down the bathroom door. When confronted, he tries to explain the other person he was with named Kate (Danielle Evon Ploeger) is dangerous and may try to kill them.

From this point forward, the narrative splits into two sections, one detailing Chris and Kate’s time in the house, the other focusing on Dennis and Rita adjusting to the house. Strange occurrences permeate the house, making the viewer question whether the supernatural is at play. As pieces in the narrative’s jigsaw puzzle are filled, a clearer picture of what is going on forms.

While there is some occasional overacting, the characters are quite believable. In particular, Kate exudes a sense of danger and sexiness that recalls elements of the film noir femme fetal trope. She is a perfect foil to Chance’s haunted character who exhibits occasional erratic behavior. Both harbor secrets, including the real reason why they are together in the first place. The reveal is a one-two punch in the gut, but the subsequent twist is more surprising. While the ending can be a head-scratcher for some viewers, repeat viewings should be rewarding to those drawn into its mystery.

As these four characters interact, it becomes evident that the Greenlee brothers are less concerned with visceral horror than engaging on an intellectual level with questions about the human psyche. This approach places Home with a View of the Monster in a similar vein to Shane Carruth’s films Primer and Upstream Color. Although some of the jigsaw pieces don’t neatly fit the picture the Greenlee brothers are trying to paint, their debut feature is quite sophisticated and rises above its indie origins.

Rating: 9 out of 10 stars