Shot and set in Montreal, Quebec, Canada, it stars Sydney Sweeney and Justice Smith as a young couple who spy on and become obsessed by the lives of their neighbors across the street (Ben Hardy and Natasha Liu Bordizzo).

The next day, "Margot", whose real name is Julia, visits L'Optique, where she receives an eye exam from Pippa and orders a new set of glasses recommended by her.

Seb and Julia divulge that they own the apartment rented by Pippa and Thomas (whose lease included a clause stating that they consented to be photographed) and knew they were being watched.

They see her spying on them from the rooftop and chase her into L'Optique, where she tells them she deduced that while she was having sex with Seb, Julia drugged Thomas's drink and staged his suicide.

In September 2019, it was announced Michael Mohan would direct the film from a screenplay he wrote, with Greg Gilreath and Adam Hendricks serving as producers under their Divide/Conquer banner, and Amazon Studios distributing.

[2] In November 2019, Sydney Sweeney, Justice Smith, Natasha Liu Bordizzo and Ben Hardy joined the cast of the film.

[6] The film received mixed reviews from critics, who compared it unfavorably to its forebears in the voyeuristic thriller genre, such as Rear Window (1954) and Body Double (1984).

[8] In a negative review for the Chicago Sun-Times, Richard Roeper described The Voyeurs as a "salacious and wildly implausible story that holds our interest for a while before flying off the cliff and into an abyss of creepy, ludicrous and ultimately ridiculous twists and turns".

[9] Nick Schager of Variety was also critical of the film, which he found "plays like rehashed leftovers cooked up for young viewers who've never seen any of its superior inspirations", such as Hitchcock's Rear Window (1954).

[10] In the San Francisco Chronicle, G. Allen Johnson felt Michael Mohan's script was "pedestrian" and unfavorably compared his direction to that of David Lynch and Brian De Palma.

In a four-out-of-five star review for The Guardian, he found the film to be "the real deal, an ideal cocktail of funny, diabolical and perverted", and a timely update of Rear Window.

"At last, an homage that dares to ask," Bramesco quipped, "what if Grace Kelly had been able to give the wheelchair-bound Jimmy Stewart a hand job the first time they both looked in on his neighbours across the way?