“Please don’t try to leave… you’ll make it worse.”

Following in the wake of David Bruckner’s adaptation of The Ritual, Adam Nevill‘s novel No One Gets Out Alive has also been adapted by Netflix, and will release on the streaming service this coming Wedneday, September 29, 2021.

No One Gets Out Alive is a must-see haunter about an immigrant (Cristina Rodlo) in search of the American dream who is forced to take a room in a boarding house, where she finds herself in a nightmare she can’t escape.

Santiago Menghini directed the film that’s not only produced by David Bruckner (The Ritual, Hellraiser, V/H/S, Southbound) but also Andy Serkis (Venom: Let There Be Carnage)! (Jonathan Cavendish and Will Tennant produce; Philip Robertson, Adam Nevill, and Jon Croker also executive produce. Jon Croker and Fernanda Coppel co-wrote the film.)

Here’s the best thing about No One Gets Out Alive…it’s awesome. The supernatural creature feature is going to surprise a lot of horror fans with not only its scares, but also the insane violence.

We enjoyed it so much that we unearthed two creeptacular clips from the film and caught up with director Santiago Menghini to talk about them.

“SHOWER”

“In this scene, Ambar (Cristina Rodlo) is beginning to understand that all is not what it seems in this house… that the bumps and creaks she hears in the night might not just be expanding pipes,” Menghini tells us. “They might be screams…

“I wanted to play with the use of sound to build mystery and dread. Uncertainty feeds anxiety. From this point on, it is clear something is terribly wrong with this house.”

Check out the highly effective sequence below…

“Isabella”

“This scene occurs later in the film when Ambar begins to realize that the ghosts that haunt this old house aren’t the only thing she needs to be afraid of,” Menghini explains.

“This scene was great fun to design. I was always struck by the image of the sobbing woman at the end of the corridor. Should Ambar approach or run away? With this film the aim is always to keep the audience on their toes – just when they think they know what’s going on, we want to throw a new element into the mix.”