House on Eden (2025)

A small crew of online investigators begins the film inside a cramped rental van, filming lighthearted footage as they drive toward what was supposed to be an on-location episode at a cemetery. Kris serves as the group's leader and producer; she frames the trip as an opportunity to capture genuine encounters that will grow their channel. Celina, Kris's co-host, listens warily while Jay operates the camera and edits their material; he records the banter and keeps the gear organized. The mood remains playful until Kris announces a last-minute change: she has not taken them to the cemetery Celina researched. Instead she has diverted the van to a remote property listed only as the House on Eden. Kris explains that her independent search turned up almost nothing beyond an account of a woman who vanished in the vicinity roughly sixty years earlier. She insists the spot is untouched by other investigators and will yield the kind of unscripted footage that could elevate the channel. Celina objects to being blindsided, and Jay expresses unease, but after a sharp discussion both agree to follow Kris's choice and the three haul camera kits and batteries down a wooded trail toward the location.

They film b-roll as they trek through the trees, capturing the thick undergrowth and shafts of evening light. While moving they pass flattened foliage and recently disturbed trash, obvious signs that someone else has walked the path in the recent past. Each of them notices brief movements and distant shapes at the edge of the woods -- flashes of a figure, a shadow stepping between trunks -- and they record the sightings on camera but dismiss them aloud as tricks of light or nervousness. By the time they reach the house it is dark.

The house sits in the clearing intact and immaculate, as if the residents simply left mid-routine. Curtains remain drawn partway, dishes sit on counters and furniture carries the dust pattern of daily use; nothing within appears vandalized or decayed. Above a second-floor bedroom window letters spell the name "Lilith." Paintings and decorative objects around the manor use the same motif: stylized female figures, crescent moons, and a repeated name. Kris glances at her phone and looks up what she can find. Her searches return folklore tying Lilith to a type of demon that plays cruel tricks on men and targets women during pregnancy. Kris shares this detail aloud, and Celina grows alarmed. She pushes to leave, telling Kris the place makes her uncomfortable, but Kris becomes terse and insists they set up and film, arguing that the house's untouched state and the Lilith associations make it the perfect site for their episode.

They rig security cameras at corners of the house and mount motion-activated units facing the entryways. Inside they distribute handheld devices used for spirit communication -- electromagnetic field meters, a set of voice recorders intended for capturing EVPs, and an infrared camera -- then begin a methodical sweep of rooms, narrating as they go and arguing about shot composition and runtime. The trio spends the night on location. Over the following twenty-four hours they film sessions intended to elicit a response: they ask questions into darkened rooms, play back recordings, and leave simple offerings in the kitchen that they hope will provoke activity. What unfolds exceeds expectation.

During one night of filming Celina begins to sleepwalk. She rises silently from the couch in the living room and wanders upstairs, gliding past the Lilith-decorated door without stepping on creaky boards. Kris and Jay awaken to find Celina absent and their cameras recording her ascent. They follow and find Celina standing in a bedroom with her eyes open but unseeing, murmuring in a voice that is not entirely hers. Jay films her while Kris tries to rouse her. When Celina snaps back she has no recollection of what she was doing. Over the next day those episodes repeat: Celina leaves the group while apparently unaware, she returns with dirt on her shoes or leaves a small handprint in some unreachable place, and when the others ask what she remembers she answers only that she feels "pulled."

Kris finds herself isolated more frequently. The crew stages sessions where one person stays with the camera while the other two attempt contact; on several occasions Kris walks alone into rooms and experiences violent sensory intrusions. She reports blackouts and later discovers footage of herself interacting with an unseen presence: she raises her arms, laughs in a thin, high voice, traces shapes into the air, and speaks in a cadence that does not match her usual pattern. After these incidents she wakes with small scratches on her forearm and no memory of the preceding minutes. Jay and Celina grow concerned not only by the recordings but also by Kris's mounting abrasiveness; she snaps at Celina's suggestions, belittles Jay's equipment decisions, and lashes out when they question her calls. The tension culminates in a loud argument where Jay reproaches Kris for putting them in danger and for ignoring Celina's fears. Angered, Jay slams the door, takes a battery pack from the van, and storms off into the dark to retrieve gear he left at the perimeter.

Jay leaves the house on foot and does not return. Kris and Celina search briefly outside, calling his name, but find no sign of him along the immediate path. They play back Jay's final shots and see him walking down the tree line toward the older path, but the footage ends on a blurred smear and an unexplained shadow crossing the frame. As dusk falls Jay continues to be absent.

Kris's behavior becomes increasingly erratic. In a quiet moment she reveals to Celina that she is pregnant. She tells Celina she had not planned to tell the crew until the pregnancy felt more secure, but the presence appears to focus on her in ways that Celina cannot ignore. Kris claims the episodes spike whenever she is alone and insists the Lilith lore her internet search revealed explains the assault: the entity--or whatever is present--is attentive to expectant mothers. Celina, now frantic, attempts to call for outside help and scans the footage for Jay. Alone and terrified, she decides to go into the woods to search the trail where his last footage ended. Kris watches her leave and yells for her to return, but Celina pushes on down the path and disappears into the trees.

Kris spends the night in the house moving from camera to camera, trying to document anything that might explain the disappearances. She reviews the footage in a loop. On one playback she sees Celina stepping into the clearing near the house, then a second later a dark figure intercepts the frame and the feed cuts. On several other recordings she notices in the margins a procession of shadowy figures in the distance, moving toward the property. At some point late in the night the house becomes frantic with movement. Doors shut on their own. The security cameras capture the silhouettes of multiple people approaching, their faces obscured by low light and hoods. Those figures are the first clear evidence of human presence in the vicinity beyond Kris, Celina and Jay.

Kris attempts to flee the house and is chased. She runs through hallways and up stairs, turning corners with her phone light slicing the dim as she hears footsteps and a scraping sound behind her. She rounds a landing and comes face-to-face with a naked, elderly woman who stands in the middle of a hallway, hair wild and skin pale. The woman moves with a speed and determination that belies her appearance. Kris staggers back, tries to push past, and the woman grapples her to the floor. The struggle is short and brutal. The old woman drags a shard of glass or a small blade across her own throat while hovering over Kris's prone body; she slashes her own neck so that the blood pours across Kris and the carpet. Kris collapses unconscious beneath the old woman's body. The old woman's throat wound is deep and instantaneous; she dies where she lies, the motion of her final breaths leaving Kris soaked in blood and unresponsive.

Kris revives in a trance-like state. She stumbles out of the house into the adjoining clearing and moves toward a light. There she encounters the group of people who had appeared in the footage: a circle of unknown individuals gathers around a roaring pyre. They stand naked and solemn in the cold night, faces partially illuminated by flame. Among them Kris sees the bodies of her two missing coworkers. Celina lies near the base of the pyre, motionless and bloodied; Jay sits slumped beside her, likewise still. Their clothing is torn and their skin bears marks; their bodies are damp with blood that runs in dark streaks toward the fire.

The individuals in the circle approach Kris with methodical calm. They strip off their own garments and, without hesitation, smear the warm blood of Jay and Celina across Kris's skin. Their actions are careful and ritualized: fingers cradle Kris's face, palms drag through wounds, and the viscous fluid is worked into the hollows of her arms and neck. Kris remains in the middle of the clearing, her limbs loose, eyes half-lidded as they anoint her. The people speak in low voices and chant in a cadence the footage cannot fully capture; they do not threaten her physically, and multiple members touch her with an intimacy that suggests initiation.

One member of the circle lifts Kris's chin and announces in a plain tone that she is welcomed. They surround the pyre and guide her toward the center as if she were to join them; several press small talismans to her skin before backing away. The camera captures the final, clinical moments: Kris stands amid the naked group, blood slick across her torso, hair matted. Her friends lie dead at the periphery of the flame. The group tightens around the pyre and the screen records only the sound of their breathing and the crackle of burning wood until the footage ends.

The film closes with that image: Kris in the center of a circle of strangers who have killed Jay and Celina and used their blood to anoint her, the old woman who attacked her dead inside the house, and the manor still standing behind them with its Lilith-marked rooms. The pyre burns down as the strangers continue their quiet rites, and Kris remains among them, her face smeared with the blood of the two people who traveled with her into the House on Eden. The final recorded moments do not show violence against Kris after the anointing; they record only the presence of the cultists, the bodies of Jay and Celina, and Kris being accepted into the naked circle as the flames die low. The narrative ends on that recorded scene and the screen cuts to black.

At the end of House on Eden (2025), the three main characters--Kris, Celina, and Jay--succumb to the malevolent ancient spirit inhabiting the abandoned house. Kris, who is revealed to be pregnant, is overwhelmed and ultimately possessed or killed by the spirit. Celina falls into a trance and becomes violent, attacking Jay, who also suffers injuries. The film closes with the fate of the trio sealed in the house, implying they are trapped or lost to the spirit's power.

The ending unfolds in a tense, scene-by-scene progression:

1. Celina's Trance and Violence: Celina deliberately enters a trance-like state to allow the spirit to communicate through her. When she awakens, she lashes out violently, punching Jay in the face and causing a bloody nose. This marks a turning point where the spirit's influence visibly fractures the group's cohesion.

2. Kris's Collapse: Kris, who is pregnant, is found unconscious on the floor after falling down the stairs. This physical collapse signals her vulnerability and the increasing danger posed by the spirit.

3. Supernatural Assault: Kris is grabbed by a ghostly figure and forcibly submerged beneath dirty water in a bathtub. This scene is a direct confrontation with the spirit's power, showing the physical and psychological torment inflicted on the characters.

4. Lilith's Appearance and Gore: An older woman, identified as Lilith, appears kneeling beside an unconscious figure and slashes her own neck, spilling blood onto the prone person. This disturbing ritualistic act underscores the ancient and malevolent nature of the spirit haunting the house.

5. Final Fate of the Characters: Jay, injured and with a bloody nose, is left amidst the chaos. Celina, under the spirit's control, and Kris, incapacitated and possibly possessed or killed, are trapped in the house. The film ends with the implication that none of them escape, their fates sealed by the ancient force.

Throughout these final scenes, the film emphasizes the breakdown of trust and the overpowering influence of the spirit. The characters' interpersonal conflicts--especially Kris's unilateral decision to divert their investigation--compound their vulnerability. The ending leaves the trio lost to the house's dark presence, with no clear rescue or escape, highlighting the horror of being consumed by an ancient evil.

Yes, the movie House on Eden (2025) does have a post-credit scene. In this scene, after the main events conclude with the character Chris being ambushed and taken up to the attic by an old lady, the film ends with a last-second title card. The scene is ambiguous and unsettling, showing Chris getting out of a bathtub and then being confronted by the old lady who appears to have some malevolent control or possession over her. The exact nature of who pushed Chris into the bathtub is debated, with possibilities including the possessed Selena or the old lady herself, but the old lady's presence and influence are strongly implied in the final moments.

The ancient spirit is a malevolent presence residing in the abandoned house deep in the woods that Kris, Celina, and Jay encounter during their paranormal investigation. It manifests through eerie phenomena such as doors opening and closing on their own, possession of characters, and violent acts like self-inflicted wounds by a ghostly figure named Lilith, indicating its dangerous and supernatural nature.

Kris secretly reroutes the team from their planned cemetery investigation to the House on Eden without consulting Celina and Jay, causing tension and displeasure among the group. This decision leads to conflict, mistrust, and frustration, as Kris is focused on boosting her channel's popularity while her friends feel blindsided and uneasy about the unplanned and isolated location.

Lilith appears as an older woman ghostly figure associated with the house's dark history. She is depicted in a painting and later in the film as a naked older woman who performs violent acts, including slashing her own neck and spilling blood on an unconscious individual. Lilith's presence is linked to the malevolent spirit haunting the house and contributes to the horror elements of the story.

The team experiences multiple supernatural events including a cat ball that lights up when something moves nearby, doors opening and closing by themselves, possession of Celina during a trance, ghostly figures grabbing Kris and submerging her underwater, and Celina exhibiting trance-like behavior with physical wounds. These phenomena escalate the tension and danger as the night progresses.

Initially, Kris, Celina, and Jay have a playful and friendly rapport, but Kris's unilateral decision to change the investigation site strains their relationships. Celina and Jay express displeasure and frustration, leading to arguments and physical altercations, such as Celina punching Jay. Moments of solidarity are rare, and the stress of the haunting exacerbates their conflicts and mistrust.

The movie House on Eden (2025) is not family friendly; it is rated R and contains horror elements that may be upsetting for children or sensitive viewers.

Potentially objectionable or upsetting aspects include:

• Paranormal horror and suspense involving a malevolent, ancient spirit in an abandoned house, with eerie sounds like screams and thumps.
• Disturbing themes related to pregnancy, including vulnerability and exploitation by a cult, connected to dark mythological references.
• Ritualistic scenes involving blood and anti-baptism symbolism, implying possession and corruption.
• Scary and unsettling atmosphere with characters experiencing sickness, fear, and being trapped in a creepy, spotless old house.
• Some mature language and crude humor, including poop jokes, which may be inappropriate for younger audiences.
• The film uses a found footage style with shaky camera work, which can be disorienting or stressful for some viewers.

Overall, the film's horror content, occult themes, and tense, frightening scenes make it unsuitable for children and those sensitive to paranormal horror or ritualistic violence.