{"id":1160447,"date":"2026-02-10T11:05:06","date_gmt":"2026-02-10T11:05:06","guid":{"rendered":"https:\/\/www.polygon.com\/?p=549113"},"modified":"2026-02-10T11:05:07","modified_gmt":"2026-02-10T11:05:07","slug":"the-woman-in-the-yard-only-cares-about-the-ending-so-lets-talk-about-the-ending","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-woman-in-the-yard-only-cares-about-the-ending-so-lets-talk-about-the-ending\/","title":{"rendered":"The Woman in the Yard only cares about the ending, so let\u2019s talk about the ending"},"content":{"rendered":"
\"Ramona
<\/figcaption><\/figure>\n

What if there was a woman in your yard, sitting pensively in an austere, lacy black mourning veil, just\u2026 waiting? It wouldn\u2019t take very long for you to feel unnerved, whether she did something or not. This is the very basic setup of the (appropriately titled) The Woman in the Yard<\/em>, the new Blumhouse horror film from Orphan<\/em> and Carry-On<\/em><\/a> <\/em>director Jaume Collet-Serra. <\/p>\n

Ramona (Danielle Deadwyler, from Carry-On<\/em> and Station Eleven<\/em><\/a>) has cause to be afraid: The woman in black appears after a car crash that killed Ramona\u2019s husband and left her seriously injured. As she gazes at the unwanted visitor outside her rural farmhouse, she\u2019s got no phone, no car, and no ability to walk her two kids to safety, with the nearest neighbor a few miles away. And on top of it all, the woman will only warn her, \u201cToday\u2019s the day.\u201d\u00a0<\/p>\n

And yet Collet-Serra and writer Sam Stefanak (F Is for Family<\/em>) don\u2019t savor the promise of The Woman in the Yard<\/em>\u2019s premise. Instead, they point toward an ending like a pool player calling a pocket. Which makes it all the more disappointing that the movie can\u2019t even sink its shot. <\/p>\n

[Ed. note: <\/strong>This post, as the headline suggests, includes full spoilers for the ending of The Woman in the Yard<\/em>. It also discusses suicidal ideation and depression in detail.]<\/p>\n

\"Okwui<\/p>\n

By the midpoint of the film, Woman in the Yard<\/em> openly declares what has already seemed more or less obvious: The titular woman is Ramona, or at least a personification of her suicidal ideation, haunting her and encroaching ever closer on all she holds dear. It\u2019s not really clear whether there are rules around the entity\u2019s powers, just that her appearance in Ramona\u2019s yard is in service of getting Ramona to the final showdown, and the question of whether her darkest demons will win out. <\/p>\n

It\u2019s less a specific moment in the movie that points to this so clearly from the jump, and more the general tone. Like so much of modern, simplistic metaphor-driven horror<\/a>, Woman in the Yard<\/em> seeds a lot of winks and nudges that the lacy specter might be a walking allegory \u2014 the way Ramona is checking out of parenting duties, failing to keep basic food around the house for her kids or her dog, letting bills stack up and flowers wither. As with many of these movies, the air of tragedy feels more purely like Mental Health Allegory than like effective character work. <\/p>\n

Collet-Serra and Stefanak are far too content to simply tell us this despondency is where Ramona is, rather than actually setting it up. After establishing all the ways her teenage son, Taylor (Peyton Jackson), is picking up the slack around the house, Stefanak\u2019s script goes out of its way to say that Ramona isn\u2019t just suffering a post-traumatic depressive spell: This is an ongoing state stretching back to before her husband died. We see in a flashback that they fought on the night of his death, with her telling him she was unhappy in the country. He counters that she was unhappy in the city too, and asks her what she wants. Driving them home, Ramona ultimately crashes the car when she sees The Woman (Okwui Okpokwasili) in her rearview mirror.\u00a0<\/p>\n

The persistent problem with The Woman in the Yard<\/em> is how close it comes to the narrative neatness all of these metaphors-as-horror films want. Ramona\u2019s first flash of The Woman could be read as a startling intrusive thought about death by suicide. Her ensuing despair comes out as bigger flashes of hot and cold rage, ones that put her kids, herself, and even the dog and chickens they own in danger, which is why The Woman kills the chickens and disappears the dog before focusing on Ramona. Every time Ramona gets stressed and irrationally flies off the handle, The Woman moves closer to the house, as if the strain and shame is literally imposing itself on her family.<\/p>\n

\"\"<\/p>\n

But the filmmakers are so eager to play their big ideas for a big reveal that they muddle the entire sense of threat. The first act, with Ramona and her kids watching The Woman watch them, never feels as claustrophobic as it should. And so a lot of character acts just get introduced out of nowhere. Although Taylor seems resentful of how much he has to step up as a parental figure for Ramona \u2014 and how she never appreciates it \u2014 the way he angrily yells that she\u2019s \u201con crazy-person pills\u201d feels like it comes out of nowhere. <\/p>\n

But the worst of the uneven plotting comes from the blurry lines between Ramona and The Woman. The problem is, Stefanak and Collet-Serra can\u2019t quite make sense of whether The Woman is a monster or a metaphor \u2014 and for a film like this, the distinction does matter, even when filmmakers want to have fun withholding the reveal. This is a thinly sketched world, one where we\u2019re told things about characters all of a sudden and asked to simply accept they are true, like Ramona\u2019s husband saying she has been miserable in a life we never see and thus can\u2019t contextualize. So however The Woman acts has to make sense \u2014 maybe even more <\/em>sense than the family\u2019s behavior.\u00a0<\/p>\n

Instead, it feels like she\u2019s whatever the story requires of her to move forward. She\u2019s a looming, nebulous, external threat, until suddenly she\u2019s telling Taylor his mom\u2019s secrets. The Woman can use her shadow to knock things over inside Ramona\u2019s house, and once the family figures this out, they start drawing the curtains. But even when they totally block out her powers within the room they\u2019re in, the family still goes and hides in the attic.<\/p>\n

When The Woman ultimately gains access there, too, the movie somewhat implies that it\u2019s because night has come, and darkness is just one giant shadow. That\u2019s a narratively neat idea; depression certainly can seem more isolating and all-consuming in the cold dark after the sun has set. But it\u2019s a rule change without a clear cause in the film, and the abruptness of the shift seems more in service of Stefanak angling toward his harsh ending than it does actually developing The Woman as an entity.<\/p>\n

The attic sequence begets a mirror world that Ramona is briefly pulled into, and a bit where Ramona is momentarily possessed by the The Woman. Those sudden power shifts make everything around The Woman feel too jarring; she\u2019s a menace weighed down by too many gimmicks. It seems Stefanak wants<\/em> the ambiguity about what The Woman is and what she can do: The fact that The Woman threatens the children while also encouraging Ramona to end her life to protect them is yet another way the story could find some tidiness in the metaphor, a way to explore just how damn annoying depression can be, in spite of the movie\u2019s flimsy internal logic.<\/p>\n

But the thing about horror-as-metaphor movies is, they\u2019re supposed to be movies first \u2014 built on functioning stories, clear characters, and comprehensible horror rules<\/a>. Woman in the Yard<\/em>, by contrast, just seems to be following a steady drumbeat of Do you get it?<\/em><\/p>\n

\"Ramona<\/p>\n

Which is what makes the ending it\u2019s marching toward so weak instead of bleak. The Woman assures Ramona that her kids will be safe if Ramona dies, showing pictures of the bright futures they\u2019ll have so long as she isn\u2019t with them. The Woman helps Ramona get a gun in place, speaks of how Ramona has called out for her for so long, and tells her (again) that today is finally the day. Ramona looks at herself in the mirror and sees The Woman\u2019s ghostly spirit settle into her body. Then we get a brief glimpse of Ramona and her kids returning to a home with the power on and the dog returned, happily pronouncing they\u2019ll know how to deal with The Woman should she return. <\/p>\n

The final pan seems designed to introduce some open-endedness to this tale: Ramona\u2019s signature on a painting she did has a backwards capital R, possibly indicating she\u2019s actually in the mirror world The Woman brought her to. Is it possible she\u2019s actually in the mirror world (and, it\u2019s implied, dead by suicide)? Or is this just payoff for her daughter struggling to write R\u2019s the right way, nodding to the ways mental health issues might travel through families? <\/p>\n

It\u2019s more likely the latter. (The sign outside their house is legible the correct way, as is the rest of Ramona\u2019s signature.) But either way, the ending is a dud. Again, the most frustrating aspect of this movie is how close this feels to worthwhile symbolism. Woman in the Yard<\/em> looks great, thanks to Collet-Serra\u2019s direction, and Deadwyler is giving it her all. There\u2019s something to the idea of the shape-shifting trump card that depression always seems to play, the way it both nestles into you and stands like a wraithlike boogeyman cutting you off from the world.\u00a0<\/p>\n

But The Woman in the Yard<\/em>\u2019s story is too choppy, with the filmmakers so insistent on presenting their elements as linear that their story ironically feels carelessly messy. Collet-Serra can have his fun following a shadowy lurking presence or flitting between realities, but he doesn\u2019t mask how disjointed this fun feels. Does it matter whether the end of this movie is a coy sendoff or a dark one? Either way, it feels like it dodges Ramona\u2019s actual decision, which happens off screen. The movie piles up pointless obfuscation, until suddenly that\u2019s all there is. There\u2019s no power in that story, and as a result, there\u2019s barely any tragedy. <\/p>\n

\n

The Woman in the Yard is now playing in theaters.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

What if there was a woman in your yard, sitting pensively in an austere, lacy black mourning veil, just\u2026 waiting? It wouldn\u2019t take very long for you to feel unnerved, whether she did something or not. This is the very basic setup of the (appropriately titled) The Woman in the Yard, the new Blumhouse horror film from Orphan and Carry-On director Jaume Collet-Serra.  Ramona (Danielle Deadwyler, from Carry-On and Station Eleven) has cause to be afraid: The woman in black appears after a car crash that killed Ramona\u2019s husband and left her seriously injured. As she gazes at the unwanted visitor outside her rural farmhouse, she\u2019s got no phone, no car, and no ability to walk her two kids to safety, with the nearest neighbor…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1160448,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1160447","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe Woman in the Yard only cares about the ending, so let\u2019s talk about the ending | Arcader News<\/title>\n<meta name=\"description\" content=\"What if there was a woman in your yard, sitting pensively in an austere, lacy black mourning veil, just\u2026 waiting? 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