Imagine being so terrified by a movie that it changes how you feel safe in your own home. That’s exactly what happened to Madelaine Petsch when she first watched The Strangers as a teenager. But here’s where it gets controversial: could a film so unsettling actually redefine how we perceive fear? Petsch, now both an actress and producer, recently sat down with IndieWire to discuss the chilling conclusion of The Strangers trilogy, Chapter 3, hitting theaters on February 6. She admits, ‘It was one of the first films that made me genuinely unsettled and scared to be alone in my home.’
Bryan Bertino’s 2008 home-invasion thriller has left an indelible mark on audiences, largely because its senseless violence—inspired by real-life horrors like the Manson murders—feels eerily plausible. ‘This was a real-life thing that could actually happen,’ Petsch reflects, recalling the haunting image of three strangers knocking at your door. ‘That wouldn’t leave me.’ And this is the part most people miss: the film’s ambiguity, particularly its cliffhanger ending, has fueled endless speculation. ‘I always wondered what happens after [Liv Tyler’s character] opens her eyes,’ Petsch says. ‘I liked that it was open to interpretation.’
When Petsch was approached in 2022 with the idea of not one, but three interconnected spinoff films—all directed by Renny Harlin—she was initially skeptical. ‘Immediately I was like, who is trying to remake this incredible film?’ she recalls. But what she discovered wasn’t a remake at all. Instead, producer Courtney Solomon envisioned a trilogy that would re-anchor the slasher franchise, which had drifted between tones and timelines after Bertino’s original. The trilogy, starring Petsch, was conceived as a single, cohesive arc from the start, with Chapter 1 (2024) deliberately echoing the visual and narrative style of the 2008 classic.
Here’s the bold take: Petsch sees this approach not as a retread, but as a strategic act of restraint. ‘They’re taking the first chapter and making a reiteration of that original film to create a jumping-off point into the story they want to tell—what happens once your eyes open,’ she explains. ‘I thought that was really daring and quite ballsy.’ This ambition wasn’t limited to the script. The trilogy was shot largely back-to-back, giving Petsch a complete psychological map for her character, Maya, before filming even began. ‘As an artist, being able to create an arc over three films all at once is such a blessing,’ she says.
Originally, the films were set for rapid release, turning Maya’s ordeal into an endurance test for viewers. However, reshoots and logistical challenges stretched the process into four years. Yet, the conceptual experiment remains intact. Across three films, Maya isn’t just surviving a single attack—she’s living with the aftermath of a nightmare that’s haunted pop culture for nearly two decades. ‘She becomes no holds barred, and she also kind of becomes the antagonist and the protagonist,’ Petsch notes. ‘Which I find very interesting for this genre.’
But here’s the thought-provoking question: Does this long-form design blur the line between film and television? Petsch, famous for Riverdale, is quick to draw a distinction. ‘The only similarity is that you’re acting in both,’ she says. ‘Film allows for an added layer of intention from the performer. You get to make sure your choices make sense over time.’
Throughout production, Petsch became deeply involved in the trilogy’s development, collaborating on rewrites, shot lists, and casting. She eventually took on a producer role, emphasizing that it wasn’t a transactional move. ‘I was lucky enough to work with somebody who saw that I had the ability and wanted to give me a seat at the table,’ she says. For Petsch, horror is the genre that most rewards this level of trust. ‘We take the most risks in this genre,’ she asserts. ‘The most interesting characters kind of live here.’
Currently shooting another unannounced horror project, Petsch doubts The Strangers will ever truly end. ‘These characters are innately creepy. They’re great antagonists. They’re great villains,’ she says. ‘I wouldn’t be surprised if somebody else got inspired and wanted to make it again.’
The Strangers: Chapter 3 arrives in theaters on February 6, courtesy of Lionsgate. But here’s the final question for you: Do you think the trilogy’s approach to horror and character development sets a new standard, or does it risk diluting the impact of the original? Let us know in the comments!
