Maria Harwood has not recovered from the tragedy of losing her son Oliver, who drowned in a car accident in India.

When Oliver says he has to leave, Maria panics, wanting more time and opens the door, but sees no one.

Now having closure, she focuses her attention on her husband, Michael, and Lucy but doesn't tell Piki that she opened the door.

Strange things start happening: their piano plays itself and Lucy tells Maria that Oliver has come back and that he is hiding from someone.

Piki notices that the nearby plants have started dying and realizes that Maria disobeyed her instructions.

Maria discovers a bloody bite mark on Lucy's shoulder when giving her a bath.

Oliver pulls out the chair and book again and Maria promises to read to him as long as he doesn't hurt Lucy.

She reveals to Maria that the strange figure she has been seeing is Mrtyu, the gatekeeper of the underworld, who reclaims the errant souls of the dead.

Piki urges Maria to burn all of Oliver's possessions to break his hold on the living world.

She sees the temple steps and realises Michael is attempting the same ritual to bring back Maria as she did with Oliver.

[3][4] The Other Side of the Door was released on DVD and Blu-ray by 20th Century Fox Home Entertainment on June 7, 2016.

The site's critical consensus reads, "Laden with flimsy jump scares and cheap stereotypes, The Other Side of the Door wastes solid work from Sarah Wayne Callies on thoroughly middling horror fare.

[6] Christian Holub from Entertainment Weekly gave the film a B+, writing, "like all the best horror, The Other Side of the Door is concerned not just with what freaks us out on a gut level, but the deeply-repressed anxieties that truly terrify us.

"[8] Tom Huddleston of Time Out noted how the film panders to seamier representations of India "packed with scowling beggars, scuttling cockroaches, dutiful housemaids and shady shamans" — and that by doing so, the film was ultimately "so tasteless and knee-jerk in its depiction that it makes Indiana Jones and the Temple of Doom look like a triumph of racial awareness.

"[9] Geoff Berkshire of Variety agreed with that assessment, adding "with a bare minimum of anthropological curiosity ... there’s no interest in mining the setting for anything other than exploitation.