I went into Imposters knowing nothing other than the general premise: a missing kid case with an uncanny twist. I'm a huge fan of anything horror, especially with a sci-fi or thriller component, so it was obvious that I’d enjoy this film. Though what I didn't expect was how terrified I’d be watching it. It’s hard to discuss the movie without getting into details or reveals, but I intend to keep this review spoiler-free.

Imposters is the feature directorial debut of Caleb Phillips. The film centers not-so-perfect couple Paul (Charlie Barnett) and Marie (Jessica Rothe). They’ve just relocated to a beautiful house in a small town, with a stretch of woods in their backyard. However, before they can truly settle in, their son, Theo, vanishes from his cot. Paul and Marie work together to find Theo, but their unspoken tension and growing suspicions get in the way.

Paul’s first suspect is odd local Orson (Bates Wilder), who ominously stalks the family and claims to have a history with the house. Small town cop Ezra Reid (Yul Vasquez) rationally tackles Theo’s disappearance, insisting Orson is harmless, if eerie.

When Marie finds Theo after an unsettling lead from Orson, Paul suspects it’s not actually their son she’s found. Not only that, Marie refuses to speak on the circumstances in which she found Theo, claiming to not remember. As the couple becomes tangled up in a peculiar nightmare, the film keeps us guessing which direction it’ll go in. This is something more haunting than a simple kidnapping, but more plausible than fables of changelings. Welcome to Imposters.

In the cinema, I was on the edge of my seat, anxiously glancing around and covering my eyes. The rest of the audience were, too. While the beginning of the movie is slower and focuses on interpersonal drama, there is plenty of nail-biting action and fight scenes, if you enjoy thrillers. I frequently heard gasps and mutters at each twist, plus “oohs” at bloodier parts. There’s a nice touch of ironic humour too, that deserves a small chuckle.

Imposters accomplishes a lot in a self-contained space, which is smart and cost-effective. With a small cast, the film relies heavily on Rothe and Barnett’s performances. While critics and reviewers seem to unanimously agree that Rothe shines in her performance of Marie, there has been some light criticism of Barnett’s acting. Even though I agree Barnett’s portrayal of Paul felt wooden at some points, I’d argue it makes sense for Paul’s character. Barnett gives the sense that Paul is a passive, indecisive man who’d rather be someplace else.

Another criticism I’ve seen is how there’s an almost sterile quality to the film. Paul and Marie’s house and the sprawling woods sometimes seem too polished to be realistic. Yet, the movie is called Imposters after all— the film’s world might seem pristine, but there’s ugliness beneath the surface. 

I don’t believe Imposters is actually about losing your child or even parenthood, although it evokes those concepts. It’s about the lengths you’ll go in order to protect what you want, and the person you become on the way there. What lies will you tell? What happens when you do get what you want, but in the worst way? Who will you take from in order to protect yourself? Imposters asks these questions, but it doesn’t provide easy answers, or a moral stance on what’s wrong or right. The only person who can decide that are us viewers. 

This is the part where I should tell you when and where to see this incredible film, but unfortunately I don’t have the answers (much like the movie). Imposters had its premiere at SXSW earlier this year, and has yet to make it to cinemas or any streaming platforms. Until then, watch this teaser trailer on repeat and add it to your watchlist on Letterboxd. When it does hit the cinemas, I’ll be running back with you for a rewatch.