You Should Have Left is the latest release from Blumhouse, written and directed by Hollywood legend David Koepp, starring Kevin Bacon and Amanda Seyfried. The story follows a married couple and their young daughter as they take a family vacation to a mysterious, secluded home in the Welsh countryside, but things go wrong. The film is a mind-bending thriller that focuses on internal conflicts manifesting in real world terrors. A labor of love from Koepp, the film has connections to other horror movies, like the ones below.

Rosemary's Baby

Rosemary's Baby is about Rosemary and her struggling actor husband Guy, who move into a new apartment building. After becoming pregnant, Rosemary begins to believe something sinister is going on with their strange, overly involved neighbors. Rosemary turns out to be right with the building's tenants being part of a satanic cult, who have conspired with Guy to have Rosemary mother the Devil's baby.

David Koepp has said that he was inspired by domestic horror films when setting out to make You Should Have Left, and Rosemary's Baby is the quintessential domestic horror film. An iconic film that is surprisingly ahead of its time in regards to its themes about motherhood and gaslighting, Rosemary's Baby is a perfect companion piece to You Should Have Left because both films deal with how the problems at home can manifest into something supernatural and horrific. Both also explore the overwhelming loneliness that comes with a traumatic, isolating event.

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Secret Window

Secret Window is the story of Mort, a successful writer going through a painful divorce, who has retreated to a remote cabin to battle writer's block and face off against a stalker who accuses him of plagiarism. Although, it is revealed that not all things are as they initially seem.

Secret Window is also written and directed by David Koepp, and like You Should Have Left, it is adapted from a horror novella. They work well together because the evolution of Koepp's spirit and flair as a filmmaker are clear in both movies. He is able to elevate what could be straight forward stories and brings his unique style when adapting words to screen in an engaging way.

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The Shining

Jack Torrance in The Shining.

The Shining is also from a work of Stephen King. Troubled Jack Torrance brings his wife Wendy and son Danny to The Overlook Hotel to look after it during the off season. Danny is not just any little boy; he has a special gift called "shining." The hotel has a sinister energy that prays on the family, tearing them apart and torturing their minds.

The Shining, like You Should Have Left, is about a family of three dealing with their internal conflicts turned outward in a remote vacation spot. Both films contain lead male characters with dark pasts struggling to move forward, but they ultimately meet their end when they are forced to confront their failures. Also, both are laden with metaphors and memorable visuals. These factors make the two films unsettling but well matched companion pieces.

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Devil

Devil, produced by M. Night Shyamalan, is about a group of seemingly ordinary people trapped in an elevator while a police officer investigates a mysterious suicide in the building. The elevator passengers' dark secrets are revealed as the Devil kills them one by one. The Devil is only stopped when one of the trapped victims confesses his sin and gives himself over to the police.

Devil makes the perfect companion piece to You Should Have Left because they both feature the Devil punishing people with a guilty conscience. It is only through confession that the other characters escape the situation alive. Thematically, the two films compliment each other nicely, and they are contained to essentially one location where a situation escalates until the chaos gets out of hand.

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The Lodge

The Lodge is a shocking, psychological, horror film about Grace, a woman attempting to bond with her fiance's resistant children. She was raised in a cult and was the sole survivor of a mass suicide at the behest of her father, the cult leader. While celebrating Christmas in a remote cabin, tensions boil over, and Grace's grasp on reality comes crashing down around her to the glee and terror of her soon to be step-children.

The Lodge goes well with You Should Have Left because they both follow characters with traumatic pasts that make them infamous for all the wrong reasons. Both films also deal with the internal guilt and struggle that comes from a disturbing and difficult past, as well as attempting to blend in with a new family. The inability for the characters and the audience to truly determine what is real and what is not also connects the films in a fascinating way.

KEEP READING: You Should Have Left: Here's Why That House Is Haunted