The Signal is a 2007 American horror film written and directed by independent filmmakers David Bruckner, Dan Bush and Jacob Gentry.

It is told in three parts, in which all telecommunication and audiovisual devices transmit only a mysterious signal turning people mad and activating murderous behaviour in many of those affected.

Each of them manifests elements of (besides the overall genre of psychological horror), respectively, splatter film, black comedy, and a post-apocalyptic love story.

Mya listens to a compact disc given to her by Ben, but she is menaced by men who are acting strangely in a parking garage.

Unknown to Mya, a static-like interference coming through communications media has amplified people's negative emotional traits, causing them to act irrationally and, in most cases, violently.

It becomes evident that the signal affects each person differently, and Rod may also be crazy, though he seems to largely have control of his judgment.

Rod is incapacitated and trapped in the vehicle, while Mya flees, telling a stranger named Clark that she is going to the train station.

At a nearby apartment, a woman named Anna has killed her husband in self-defense but has continued planning for a party as if nothing has happened.

He dismisses the act as defending Anna, but Clark convinces him not to attack the next arrival, Jim, who is apparently oblivious of the situation.

[5] After long delay due to the search for a song to replace an unlicensed cover of Lou Reed's "Perfect Day" by Jon Thomas Hall in the soundtrack, the film was theatrically released on February 22, 2008.

[11] Not content to go the usual "zombie apocalypse" route (where the narrative follows a band of survivors coping with hordes of crazies), the creative triptych have broached larger, more philosophical ideas.

"[15] In a review for The Boston Globe, Wesley Morris wrote that while the film's episodes vary in their quality (he opined that the first is "by far the most impressive"), "the filmmaking stays sharp and the acting maintains its ferocity.

"[16] On the other hand, Owen Gleiberman of Entertainment Weekly called it a poor mix of Poltergeist, Invasion of the Body Snatchers, Re-Animator, Shivers and Shaun of the Dead.

[17] Karen Kemmerle of Tribeca Film recommended this "surreal, primal, unexpected and unsettling journey through a society gone mad", and stated that "the style of the film is reminiscent of those great 70s horror movies—it's raw, grainy and insanely visceral," and its raw and low budget feel "only draws to its appeal.