Based on the novel of the same name by Walter Mosley, Nadia Latif, who co-wrote the script with the author, crafts an occasionally stirring and messy directorial feature debut with The Man in My Basement. It’s difficult to manage deep themes with slow-burn horror; the film’s attempts are only occasionally successful. The horror mystery is more of the latter, laying the groundwork for intriguing questions about one’s responsibility to keep ancestral artifacts from falling into the wrong hands or being sold out of a desperate need for money. It’s a story that is strong in theme but not in execution.

For Charles Blakey (Corey Hawkins), he’s been given a choice. Charles is down on his luck; his mother pᴀssed away and he had to live with and care for an abusive uncle. He’s got no money and no job prospects, only ancestral artifacts that could get him back on his feet if they’re sold. With his home about to go into foreclosure, Charles accepts an offer from Anniston Bennet (Willem Dafoe), a mysterious stranger who wants to rent Charles’ basement for a hefty sum. The more Charles learns about him, the more sinister things become.

The Man In My Basement Has Solid Themes But Is Too Ambitious In Its Plot

The Man in My Basement is an ambitious case study, one that’s trying to do too much. On one hand, there’s the relationship between Charles and Anniston, which grows more intriguing by the second, as well as his relationship with Narciss (Anna Diop), a friend who would rather he holds onto his family’s artifacts to stay connected. On the other, the film tries to explore a variety of questions and themes but merely skims the surface.It can be thought-provoking when Anniston, who’s done unspeakable things, asks Charles probing questions, but it can feel convoluted without justification.

Charles seems caught between a rock and a hard place, but then the tables are turned, and we see how easy it can be to become that which one detests. At the same time, the film explores the breaking of cycles, especially in terms of Charles’ behavior. Narciss is the grounding character, asking different, more humble questions that oppose Charles’ cynicism and puts things into a different perspective.

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While the film explores whether one is capable of violence when pushed to do it, and also what kind of violence is acceptable, it becomes more fascinating when we learn what really makes Anniston and Charles the same yet entirely different. A connection to culture and history and preservation are at the forefront of the film, and yet the story can often feel poorly sтιтched together; it has good ideas but no fluidity.

The Man In My Basement Boasts Solid Performances

Corey Hawkins and Willem Dafoe have a good enough back-and-forth dynamic that can be intense, even as the film grows tired. Hawkins brings expressive eyes and a pain that is deeply felt as Charles, while Dafoe’s entire countenance changes when Anniston feels he has the upper hand. Parts of the film’s plot and dialogue, paired with a rushed ending, don’t always do them justice, but they elevate the film nonetheless.

The horror is, unfortunately, the weakest element of the film. As the relationship between Charles and Anniston evolves, Charles begins seeing and feeling things, but they don’t last long enough to be fully effective, save for a near-end vision-like scenario that is eerie. It breaks the tension, which is hard to maintain at times due to slow pacing.

The Man in My Basement isn’t the most riveting film, and it’ll struggle to maintain your attention. Its themes have been better tackled in other films but it has its merits. A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

The Man in My Basement premiered at the 2025 Toronto International Film Festival. It’ll be in limited theaters on September 12.