Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.

India saw less and less horror movies being made in the 1990s. The main reason being they no longer turned a profit like they used to in previous years, but filmmaker Ram Gopal Varma was never one to follow the herd. RGV, who is often referred to by only his initials, played a significant role in the shaping of modern Indian horror. One of the most critically acclaimed horror movies from the ’90s was in fact one of his, Raat. And throughout the decade, RGV did his best to keep the genre’s spirit alive with his other films like Govinda Govinda and Deyyam. It was at the start of 1999 when audiences feasted their eyes on an RGV movie destined to become a cult hit. The indelible performances, the nightmarish imagery, and a shocking plot turn are all why Kaun? continues to haunt Indian viewers today.

Kaun? (or “Who?”) has an evergreen setup; a woman living on her own fears for her life as a storm brews outside and a killer lurks nearby. The nameless protagonist, played by Urmila Matondkar, is already on edge after hearing about a series of recent murders on the news. So when a stranger named Sameer Purnavale (Manoj Bajpayee) rings the doorbell and asks for Mr. Malhotra, the single woman says he is at the wrong house. Instead of going on his way though, Sameer continues to come back and pester the woman.

Matondkar’s character tolerates her obnoxious visitor longer than anyone else would in the same situation; she goes as far to make him a sandwich as well as leave the curtain open so he can watch television with her. Not even a lie about her husband being asleep upstairs is enough to deter Sameer. Instead, he tells the woman he saw her husband awake and moving around in the window, and he would like to talk to him. Caught in her own lie and fearful of someone else being in the house — could it be the killer all over the news? — the protagonist lets Sameer come inside. She soon regrets her mistake.

What immediately jumps out about Kaun? is its shorter runtime; it is under 100 minutes in length. On average, a typical Bollywood picture can be as long as two hours or more. RGV instead opts for a more streamlined narrative that lacks the bells and whistles of other Indian films, namely those famous musical numbers emblazoned by filmi songs and striking choreography. RGV follows in the footsteps of songless thriller Ittefaq and keeps the tone relatively tense without any creative interruptions. Indian audiences have come to expect these colorful song and dance routines in every movie regardless of genre, so not having them seems unsound. Meanwhile, other viewers not accustomed to Bollywood productions might better appreciate the straight storytelling.

The biggest performances of Kaun? are equally overstated and persuasive. Bajpayee unnerves at every corner of his unhinged portrayal. His sustained use of “ma’am” raises hairs and does nothing to ease his victim. Meanwhile, the wide-eyed lead is caught in a reactionary position for nearly two-thirds of the film before she starts to assume a more assertive role akin to the “final girls” of traditional slasher movies. Her logic, or lack thereof, will certainly raise questions. Bringing in a third character, a stony cop named Inspector Quresh (Sushant Singh), adds to the growing tension because now the protagonist has doubts about both of these men’s intentions.

Even though the entirety of Kaun? takes place inside a house, it manages to escape the tedium of other “bottle” stories. Movement is a big reason why the viewer stays engaged in spite of the single location. The camera never sits still for long, nor does it linger on anything or anyone too much in scenes. The woman’s large and bright home gradually transforms into something less inhabitable to better match the increasing peril at hand. As the rain batters the exterior, the inside darkens in both tone and appearance. It is in the third act where this effect reaches its summit; the comfort seen earlier is now far and gone, and it has since been replaced with utter consternation.

Without giving anything away, the conclusion of Kaun? is a daring feat. Audiences have come to expect these stories to end one way or another, but they are in for a surprise; they will be swept away by this outcome. It is no wonder the movie has become a cult favorite all these years later. Tales of a similar class — women endangered by both male aggressors and their own unshakable paranoia — would never think to go down this road because such a decision is dicey. RGV and screenwriter Anurag Kashyap have invested so much work in their characters’ designs and personalities, so an ending as unanticipated as this one may leave a sour taste in the mouth. On the other hand, those more twisted of viewers will feel rewarded; maybe even invigorated by what unfolds in those final twenty minutes.

Kaun? is unorthodox in the rich and lively world of Bolly-horror; its story is less regionally unique and more universally appealing. And although the movie runs the risk of being an average, imperiled-woman thriller merely dressed up in new clothes, the finale’s audacity is guaranteed to leave a lasting impression. Kaun? manages to wring out some new flavor from a much traveled story.