Babak Anvari's film Under the Shadow (2016) looks pointedly beyond haunted house tropes to envision a resentful, violent and restlessly haunted home. In his account of a djinn-infiltrated apartment, Anvari draws on memories of childhood, their vivacity sharpening and personalizing an account of domestic space at its least secure. Although the film's audience has proved to be international in scope, Anvari's complex imagining of home speaks with and to the specific register of diasporic experience.