Film Review: The Housemaid — A Slow-Burn Psychological Thriller Best Watched Blind

Some films work best when you know as little as possible about them, and The Housemaid is one of those. A slow-burn psychological thriller that thrives on discomfort rather than shock value, the film quietly pulls you into its world before revealing just how unstable it really is. Directed by Paul Feig and adapted from Freida McFadden’s bestselling novel, The Housemaid is less about jump scares and more about the unsettling truths people hide behind polished lives.

The film follows Millie, a young woman with a troubled past who takes up a live-in housemaid job with a wealthy family. At first glance, the house is immaculate, and the family appears perfect. But as Millie settles into her role, she begins to sense that something isn’t quite right. Beneath the polished surfaces lie deeply warped dynamics and buried secrets — and once they surface, there’s no turning back.

I genuinely enjoyed the twist in the tale. Perhaps because I strongly believe that the world is full of all kinds of people, and not all of them fit neatly into ideas of right and wrong. The Housemaid leans into that discomfort. This is a film best taken with a pinch of salt — sit back, suspend judgement, and watch it for what it is. The less you know going in, the more effective it becomes.

Sydney Sweeney plays Millie with quiet restraint. Popular in India thanks to Euphoria, The White Lotus, and her growing presence in mainstream Hollywood, Sweeney keeps her performance grounded and watchable. She lets silence and observation do much of the work, which suits the character and the genre well.

For me, the real standout is Amanda Seyfried. Her portrayal of the wealthy wife is chillingly controlled at first, before gradually slipping into something far more unhinged. When the story briefly shifts perspective to her character, the film truly comes alive. That narrative turn is gripping, unsettling, and easily the most memorable stretch of the film.

Brandon Sklenar, as Andrew, the husband, plays his role with an almost deceptive ease. He isn’t loud or overtly threatening — instead, he represents comfort, reassurance, and stability. His character feels designed to disarm, to blend into the background just enough to avoid suspicion, which makes his presence quietly effective. It’s a reminder that danger in such stories doesn’t always announce itself; sometimes it wears a calm smile and says very little.

What The Housemaid does well is explore class, power, and control without spelling everything out. The tension builds patiently rather than relying on constant shocks. That said, once the twists are revealed, the film may not hold strong repeat-watch value. Still, every actor commits fully, and the performances remain solid throughout.

This is not a film that demands instant reactions or easy conclusions. The Housemaid unfolds at its own pace and lingers in the mind in subtle ways, inviting viewers to draw their own meaning from what’s revealed — and what’s left unsaid.

The Housemaid releases theatrically in India on 1 January 2026.

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