«Girl on the Third Floor» - Movie Review by Kinoafisha

Don arrives in the suburbs to fix up the newly purchased house. He leaves behind his dark past, filled with shady dealings, debauchery, and prolonged alcoholism, along with his pregnant wife, who is about to join him once the renovations are complete. The man is initially distracted from his work by the neighbor across the street, who also happens to be a Protestant pastor and wants to introduce herself and enlighten her new neighbor. Then, an attractive blonde knocks on the door and pushes the boundaries of her intentions suspiciously far. However, Don has plenty of problems to deal with: white fluid resembling semen consistently leaks from outlets, showers, and other openings, a black hole in the living room wall collects black ooze, the ceiling collapses, multicolored balls roll across the floor, and an eerie shadow occasionally passes behind him. It would all be fine, but nightmares begin to haunt him with enviable regularity, the blonde starts to invade his personal space, and Don discovers that his house was once a brothel.

"Girl on the Third Floor" is not part of any franchise and does not have a prequel, although numerous films about mysterious spaces inhabited by spirits and other supernatural beings have long been resembling a series in their monotony. It is particularly interesting to observe the development of the genre in such small, modest indie horror films, as they reflect both ideological tendencies and the general direction followed by the majority of studio horror films. This film marks the directorial debut of Travis Stevens, a producer of the documentary project about the making of "Dune" by Alejandro Jodorowsky and intriguing films such as "Starfish." In a way, it is a logical continuation of the time when independent horror was dominated by a group of enthusiasts, some of whom went on to become prominent figures like Adam Wingard, Ty West, or David Bruckner. The deliberate digital low-budget aesthetic and handheld camera have given way to a measured tempo and a desire to showcase more images and deformations, which ten years ago were only briefly glimpsed or left to the imagination.

This measured approach has become a staple in recent horror films from A24 and other futile attempts to make horror movies appear slightly smarter by using a hidden metaphor behind the plot, as was the case with David Robert Mitchell's "It Follows." And, of course, "Girl on the Third Floor" looks more inventive in terms of its genre compared to the works of Robert Eggers or Ari Aster. Within the limitations of its resources, Stevens does not claim to be groundbreaking and is unafraid of using plastic effects, quality makeup, or editing techniques – in other words, he does not forget about the nature of horror. This "cursed house" is also a metaphor – a fear of serious relationships, fatherhood, and marital loyalty. The sinful nature embedded in the walls, leaking fluids resembling bodily fluids and semen, is a vivid image. However, the issue arises with the pacing, and Stevens places a truly impactful scene somewhere after the first hour. This truly impressive episode with the rolling balls under the skin, appearing at an untimely moment in relation to the screenplay's structure, creates an irreparable gap in the plot. And the vulnerability of the "Girl" becomes apparent when Stevens introduces a moralistic message that fits into a single line: to each according to their abilities, to each according to their merits.

Despite its flaws and didacticism, "Girl on the Third Floor" is an intriguing story worth the attention of genre fans in an era of true genre crisis. It is likely to impress a few viewers with its imagery and even those who are not particularly interested in horror. Paradoxically, it may also appeal to wrestling fans since the lead role is played by the famous WWE fighter CM Punk.