All I do is worry and slave and defend you, and all I get back is that fucking face on your face! Miniaturist artist Annie Graham (Toni Collette) lives with her husband Steve (Gabriel Byrne), their teenage son Peter (Alex Wolff), and their strange looking 13-year-old daughter Charlie (Charlie Shapiro). At the funeral of her mother, Ellen, Annie’s eulogy explains their fraught relationship. When Steve is informed that the grave has been desecrated, he keeps it secret, while Annie thinks she sees Ellen in her workshop. At a bereavement support group she reveals that, growing up, the rest of her family including Ellen suffered from mental illness. Daughter Charlie, who likes decapitating birds, sees Ellen, to whom she was especially close, several times. Ellen’s miniatures reveal that Ellen wanted to breastfeed the girl herself. Following a terrible accident and another family death Ellen’s difficult relationship with Peter is revealed. She is approached by support group member Joan (Ann Dowd) who persuades her to join her in trying to contact loved ones. When Annie attempts to do so at the house she unleashes powerful forces which she knows signify a malign connection only she can stop but her husband just thinks she’s mentally ill … Ari Aster’s debut feature as writer/director has given Toni Collette a return to the genre that made her world famous nineteen years ago, The Sixth Sense. That was another film about failing families and strange relations and her art works have a prophetic and odd quality which pervades the film itself using the family home as a kind of dollhouse where female power is entrapped. (Feel free to add your own theatrical metaphor). Collette doesn’t have all the operatic colours in her performance one is led to expect (although her weird trousers assist in her levitating) considering the importance attached to Greek mythology. At its heart this is about the mother from hell, trying to protect her family from terrible self-knowledge. It could have gone in another more troubling direction. Things are left unsaid, and that’s a good confident script, but it also means certain elements are simply not clarified: is Steve a psychiatrist? Why is Charlie’s disfigurement not mentioned? The trail towards the mystery’s solution is cleverly laid even if it’s a particularly slow burn. This is a film which has a split identity: on the one hand it’s a maternal melo or psychodrama, crossing generations; on the other it’s a horror homage owing a very large debt to Rosemary’s Baby in particular and therein lieth a problem for this viewer at least. When I finally figured out the plot hook – which actually made me laugh but also made me remember to always trust my prejudices – once the quiet stuff ended about 90 minutes in, I took umbrage at the slight at Roman Polanski which is tasteless if oblique, considering the weight one attaches to certain rumours spread about him in the wake of his wife’s murder. Meta? Yes. Clever? Not especially. But the admonition to Get Out obviously calls up another satirical family horror. This one doesn’t have that film’s sociopolitical critique but it does remind us that true horror resides right there in your family if you look hard enough. Just look inside the dollhouse.