In a house on an isolated island, a man accepts a job looking after his acquaintance’s niece. Once left alone, he makes horrific discoveries in the house that trigger a traumatic memory. A film by Damian McCarthy, starring Johnny French, Leila Sykes, Inma Pavon, Conor Dwane, Siobhan Burton, Sam White, and Ben Caplan.

Isaac (Johnny French) takes on an unusual job from his acquaintance named Moe Barrett (Ben Caplan) to watch over his niece, Olga (Leila Sykes). According to Barrett, Olga keeps going back to her childhood home – the same place where her father, Ed, took his own life. Barrett claims that it concerns him knowing that Olga is there all by herself, and it would give him comfort if someone he knows were there to accompany her. To make matters more mysterious, Olga’s mother vanished shortly after and hasn’t been seen since. Barrett offers Isaac a generous $200 a day for the 5-day task. But when Barrett drives Isaac to a shore, Isaac is in for a surprise: the house is actually on a secluded island, accessible only by boat. Isaac realizes this job might be more than he bargained for. Isaac expresses his frustration, asserting that Barrett intentionally left out crucial information about the house being located on an island, and that he cannot swim. However, Barrett dismisses Isaac’s concerns, claiming that it makes no difference where the house is, and that he has a boat to take Isaac there.

Once they reach the house, Barrett fills Isaac in on some details about Olga. He explains that she’s quite paranoid, doesn’t like people getting too close, and is especially sensitive about anyone entering her room at night. Barrett then shows Isaac a harness, claiming it belonged to Olga’s grandmother, who was a sleepwalker. He explains that the harness was used to prevent her from wandering off into the woods. Barrett tries to persuade Isaac to wear the chained harness, insisting it’s for Olga’s protection. The chain allows Isaac to move around the house but restricts him from entering certain rooms, including Olga’s. However, Isaac, feeling suspicious, refuses to wear it, pointing out that Barrett never mentioned anything about an island or wearing a leash. Their disagreement continues for a while, with neither side willing to budge.

Undeterred, Barrett leads Isaac to Olga’s room. They find her sitting on the floor by her bed, face hidden in her hands. Barrett reveals that Olga suffers from a form of schizophrenia called catatonic stupor. Barrett asks Isaac to decide whether he wants to wear the harness and take the job or leave the island with him, stating he can’t leave Isaac with Olga if he won’t wear it.

Eventually, Isaac agrees to let Barrett put the harness on him, thinking the job will be an easy way to make some quick cash. After Barrett leaves, Isaac starts to explore the house and discovers a door that leads to the basement. As he approaches the stairs, he finds a metal chain. When he tries to pull it, he realizes it’s stuck on something in the darkness.

Later, Isaac begins to experience strange occurrences in the house. Sometimes, he feels like someone is tugging on his chain, but there’s nobody there. At first, he suspects it might be Olga, but she hasn’t left her room. A strange voice emanates from the intercom, startling him. He also notices a creepy painting of a girl holding a rabbit that falls off the wall on its own. To top it all off, he starts hearing mysterious whispering voices in his dreams, adding to the unsettling atmosphere.

As night falls, the house grows cold, prompting Isaac to try lighting the fireplace. Instead of kindling, he discovers a wind-up toy rabbit hidden inside. His puzzlement is cut short when he turns to find Olga standing behind him, crossbow in hand. Her sudden appearance startles him. Olga questions Isaac’s presence downstairs. He explains about the cold and his attempt to start a fire. She tells him that the fireplace has been blocked off by her mother, warning that lighting it would only fill the room with smoke. Unexpectedly, Olga shares a disturbing piece of family history. She reveals that her father suffered from severe claustrophobia and had taken his own life with a crossbow while locked in the basement.

One evening, as Isaac sits alone in the dimly lit living room, an eerie silence is suddenly broken. The wind-up rabbit he found earlier inexplicably comes to life, its tiny drum beating a slow, steady rhythm. Isaac watches, transfixed and uneasy, as the tempo gradually quickens. It’s as if the toy is responding to some unseen presence drawing near. So focused is Isaac on this unsettling spectacle that he fails to notice that the basement door begins to inch open, moving slowly and silently on its hinges.

Noticing that the basement door is now wide open, Isaac feels a surge of caution. He remembers the rabbit doll reacting whenever something unseen is nearby, so he grabs it and descends into the basement. To his shock, he discovers the hidden body of Olga’s mother through a hole in the wall.

Rattled, Isaac quickly returns upstairs and heads to Olga’s room, where he finds her once again in a catatonic state. The chain from the harness prevents him from going any further than her doorstep, so he enters a room next to Olga’s. Stretching his hand through the vent into her room, he reaches for the phone on Olga’s desk.

Isaac calls Barrett, urgently informing him of his disturbing discovery. He pleads with Barrett to report it to the police and to come get him out of this place, fearing for his own life. He can’t shake the feeling that Olga might be responsible for her mother’s death.

Written and directed by Irish filmmaker Damian McCarthy in his directorial debut, CAVEAT is an impressive horror film. This slow-burn thriller unfolds its story in a confined setting, gradually revealing the truth and toying with audience expectations. As the plot develops, you can’t help but try to anticipate what’s coming next, all while questioning the true nature of each character.

McCarthy’s skillful storytelling leaves you guessing until the very end, making CAVEAT a captivating and suspenseful experience. The film’s unsettling atmosphere is crafted through clever set design and ingenious use of light and shadow, complemented by a haunting, minimalist score.

What’s particularly impressive is how the filmmaker resists the temptation to rely on cheap jump scares, a common technique in the horror films. Instead, tension builds as scenes tease the possibility of something terrifying, only to subvert our expectations. This approach keeps viewers constantly on edge, wondering if the house is truly haunted or if there’s a more earthly explanation for the strange occurrences. Among the film’s standout elements is the wind-up toy rabbit beating a drum, which has become one of the most iconic and eerie characters in horror cinema.

CAVEAT premiered at the IndieCork Film Festival in Ireland on 4 October 2020. The film was initially slated for a theatrical release in the United States. However, due to the COVID-19 pandemic, its schedule was postponed indefinitely.

Shudder acquired the film rights and released it on its streaming platform on 3 June 2021.

Launched in 2015, Shudder is an American subscription-based video-on-demand service specializing in horror, thriller, and supernatural fiction. Shudder features curated collections and exclusive content. As of June 2021, Shudder had produced over 30 original films. Subscriptions are priced at $6.99 per month or $71.88 annually, with a free 7-day trial available.

How Damian McCarthy Made CAVEAT
In West Cork, Ireland, where I’m from, there are a lot of abandoned houses. These are houses that people would have walked out of in the 1960s when they left to immigrate to the States. What was left of their breakfast plates, and even the calendars on the wall, are still there in some houses. To scout for our abandoned house location, I climbed into every window and snuck into every house that I could find in the area.

Director Damian McCarthy on CAVEAT: Jonathan really has to carry the film
The casting was very fast because this financing came along, and we had to get the script out to people pretty quickly. The guy who had the most experience was Ben Caplan who’s been acting for years. Leila Sykes plays Olga and Jonathan French plays Isaac. They had less experience. But what was important about their casting was there were long stretches of no dialogue. A lot of it is in the actor’s face, and in their eyes and their expressions. That was really more important than if they could deliver dialogue well. Jonathan really has to carry the film and you’re following him exploring the house for such a long time. His eyes are so expressive, and he’s hidden under this large beard for a lot of the movie, so once we shaved him off he becomes a completely different guy.