” deserves ample credit both for what it is and what it is not. But it’s difficult to be much more detailed in any appraisal of this cunning thriller without prematurely releasing cats from bags. On the other hand, it is safe to say that, the British-born Filipino writer-director here making his feature debut, does an impressive job of infusing scary movie conventions with the potent urgency of a sharply observed social critique.
Joy stoically accepts a demeaning system that allows the exploitation of undocumented immigrants in her position. If she contrives to occasionally claim as temporary homes for herself and Grace the houses of clients on out-of-town trips, her actions are not signs of budding class-war rebelliousness. Rather, she comes off as an anxious mom simply trying to do right by the daughter she loves, having long ago chalked up pride as a luxury neither one of them can afford.
Again, someone in Joy’s position can’t be too choosy; she can’t work someplace where she might call undue attention to herself, and she really needs the money for that visa. Besides, although Katherine vacillates between transparently phony pleasantness and autocratic patronization, she isn’t the most observant person in the world, thereby enabling Joy to keep Grace hidden in her room when the niece is around, and under control when the niece isn’t.