The tension is rooted in psychology rather than gimmickry, and evinces a command of craft that feels old-fashioned in the most refreshing possible sense.

The film barrels through a variety of emotional colors: scares, laughs, moments of emotional vulnerability, and it’s a testament to director Dan Trachtenberg that the pieces fit so seamlessly together.

The final third shifts into high-adrenaline action mode with some thrilling set pieces as Michelle faces unexpected new threats, making the paradoxical conclusion satisfying on multiple levels as it delivers on the thriller setup while introducing surprising new developments.

Mary Elizabeth Winstead and John Goodman make for fine sparring partners and the film has enough low-key, slow-burn suspense to keep the simplicity of the premise humming along.

Most of the film takes place in this vacuum-packed, Sartrean hell of other people, which Trachtenberg, his cast, writers and crew evoke with chest-tightening efficiency. Every sound and line rings with a tight, tinny echo; every room is felt out to its corners; every knick-knack drily noted.