Don’t Look begins with two couples seeking adventure in a seemingly deserted house, but what awaits inside is a sinister challenge set by the man who calls it home.
Recent years have seen a growing interest in horror films that incorporate real-world disabilities into their storytelling. These narratives often use vulnerability as a source of tension, placing characters in situations where their lived experiences shape the terror they face. Danny Murphy’s short film Don’t Look takes this idea and turns it in an intriguing direction. Instead of presenting disabled characters as secondary figures or adversaries, the story places them at the center of the nightmare, forcing the audience to experience the unfolding horror through their perspective.
The film introduces two couples who believe they are entering an abandoned house for nothing more than a mischievous night of fun. Harris, played by Danny Murphy, is partnered with Thomas, portrayed by Olly Rhodes. Rowan, played by Valor Grey, is paired with Abbie, portrayed by Morgan Colquhoun. Harris and Abbie both live with hearing disabilities, a detail that becomes critical once the situation shifts from playful to perilous.
The group’s night of drinks and dares is interrupted when they are confronted by the homeowner, referred to only as The Man, played with unsettling intensity by Liam Robertson. Instead of contacting the police, he forces them into an eerie bargain. They must sit at a table, hold hands, and obey a single rule. After hearing three knocks from an unseen entity, every participant must keep their eyes closed until morning. Breaking the rule will unleash consequences too horrific to ignore.
This deceptively simple premise gives the film its power. The fear does not come from elaborate exposition but from the immediate tension of the scenario. For the characters who cannot hear the dangers around them, the requirement to keep their eyes closed adds an even more frightening layer. The film exploits this vulnerability effectively, creating a sense of dread that grows heavier with each passing moment.
Although the budget was just £1,500, the production values are impressive. Cinematographer Samuel Ash uses the Sony FX9 to capture crisp and atmospheric imagery, balancing shadow and light in a way that feels both intimate and cinematic. The film also delivers several bursts of visceral horror. Jaw-ripping violence and distorted limbs appear briefly but memorably, ensuring the audience never feels safe from what might happen next.
The performances help carry the story. Murphy delivers a strong and grounded turn as Harris, and for the most part the ensemble commits fully to the unsettling material. While one performance occasionally feels less fluid, the group dynamic holds together and supports the premise.
It is worth acknowledging Danny Murphy’s background, which lends additional weight to the project. Murphy comes from a fifth-generation deaf family in Wallsend, United Kingdom, and has already built a career as a performer and online creator. He began acting as a child, hosted a program for deaf and hard-of-hearing viewers on CITV, and later appeared in The Parts You Lose in 2019. He has consistently advocated for authentic representation, and with Don’t Look he demonstrates not only his ability as an actor but also his growing talent as a director and writer.
What ultimately makes Don’t Look stand out is its ability to merge inclusivity with genre conventions in a natural and compelling way. Horror is uniquely suited to explore themes of vulnerability, and this film uses that connection to deliver both suspense and empathy. The result is a short that feels unsettling, memorable, and refreshingly original within the current wave of independent British horror.
Given its technical execution, unnerving atmosphere, and creative integration of disability into its storytelling, Don’t Look is well positioned to attract attention on the festival circuit. It proves that effective horror does not depend on a large budget but on a sharp idea, committed performances, and the courage to do something different.
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