Plot: Pauline (Mylène Farmer) inherita a house from her aunt. She moves there with her two daughters, Beth (Emilia Jones) and Vera (Taylor Hickson). But they have barely arrived when they are attacked in the house by two strangers. Pauline barely manages to save them all, but the trauma of the attack sits deep. Years later, Beth (Crystal Reed) has become a writer who just published a book about the experience, when she gets a call from her mother that she has to return home to help with her sister (Anastasia Phillips) who never got over the night. So Beth leaves her husband and kid behind and comes home – where strange things start happening again.
Ghostland is a relentless film and that lack of a break is its biggest strength, but I found it absolutely problematic and couldn’t really get into it.
Maddy (Amandla Stenberg) has severe combined immunodeficiency (SCID), meaning that her immune system is so weak that just being outside could literally kill her. So she grows up at home, cared for by her mother Pauline (Anika Noni Rose) and her nurse Carla (Ana de la Reguera), her social contacts pretty much limited to them, Carla’s daughter Rosa (Danube Hermosillo) and the internet. That is, until a new family moves in next door. Their teenage son Olly (Nick Robinson) catches a glimpse of Maddy, and they start a written correspondence that soon develops into something more.
There are many things that Everything, Everything gets right, but I’m not sure that they’re outweighed by the ableist fuckery the story devolves into.