Following the death of his son and wife's refusal to talk to him, Parker (Lindsay Farris) takes on a task as a private investigator. He lives in a dump of an apartment as he watches the blonde (Stephanie King) across the street. He descends into madness (or whatever was happening) as he spies on the woman who has an abusive relationship with her fiancé (Tom O'Sullivan). In addition to weird occurrences happening in his apartment, Parker becomes physically ill as he discovers there is something else at play...an offering? Does it relate to the past? the doctor? Who the heck knows, the film didn't give me closure. Almost as confusing as that Jake Gyllenhaal thing (Enemy).

Guide: F-word, brief sex. Nudity? Ummm...she lived in apartment 126. He is across the street in 128. Shouldn't one side be an odd number? Just observing.

Movies that are stake outs and that may feel weird to say the least, do have issues with character credibility at some point. And it's not different with this one, where you think, shouldn't our main character do something else instead? Shouldn't he see the signs and react to them rationally? But we wouldn't have a movie if he did. Also the actions are somewhat explained by his financial situation.

So while you can argue these flaws and bumps in the story, you can also just a "enjoy" the suspense this builds up. And it has some very shocking moments indeed. It's a one location sort of deal, but it makes the most of it. And the suspense might be killing some people. And that's why I was surprised to see the lower rating here on IMDb. Didn't expect that to be truthful

By when it came to the end credits, I didn't know what to make of it all. Interesting, if moodily tranquil paranormal psychological Aussie art-house horror. It seems to leave you with more questions than answers, but there are some hints given along the way, but nothing concrete. It's dreary slow burn style really builds upon the growing menace, claustrophobic surroundings and unstable mindsets.

I really found the mystery gripping and suspenseful despite some contrived plot devices, and the few jolts fairly effective. What starts like something in Rear Window tradition takes a turn into paranoid entrapment of Polanski with a touch of the occult. Nothing cheap or gimmicky about the build-up. The performances are perfectly pitched by Lindsay Farris and Stephanie King.