--- title: "The Enfield Haunting" year: 2015 kind: "series" canonical: "https://film.one/tv/the-enfield-haunting" fi1m_id: "the-enfield-haunting" imdb_id: "tt4036886" tmdb_id: 62593 wikidata_id: "Q19650541" fi1m_score: 77 critics_reviews: 2 published: "2026-10-07T17:29:56.739906+00:00" updated: "2026-10-07T17:30:04.262144+00:00" region: "SE" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Enfield Haunting (2015) Created by Guy Lyon Playfair · 45m · Drama, Mystery ## Identity The Enfield Haunting - **Canonical:** https://film.one/tv/the-enfield-haunting - **Type:** Series - **Fi1m ID:** the-enfield-haunting - **IMDb ID:** tt4036886 - **TMDB ID:** 62593 - **Wikidata ID:** Q19650541 - **Same entity:** https://www.imdb.com/title/tt4036886/, https://www.themoviedb.org/tv/62593, https://www.wikidata.org/wiki/Q19650541 **Fi1m score: 77** · Critics: 2 of 6 reviews so far *In a sentence:* Janet is frightening enough without the plot trying quite so hard > *The Enfield Haunting* earns its chills through credible performances, especially Eleanor Worthington-Cox’s unsettling Janet. The story wanders and pushes too hard for its payoff, but the family drama makes it worth the trouble. ## Synopsis Janet Hodgson (Eleanor Worthington-Cox) is at the centre of a mystery involving family strain and fears of a haunting. Maurice Grosse (Timothy Spall) and Guy Lyon Playfair (Matthew Macfadyen) become involved, while Betty Grosse (Juliet Stevenson) also figures in the drama. Around Janet are Mrs. Hodgson (Rosie Cavaliero), Margaret Hodgson (Fern Deacon) and Johnny Hodgson (Joey Price). Questions about what is happening become tangled with the distress of the people involved. Across three episodes, the story follows the haunting alongside the family’s difficulties, with hysteria and family breakdown complicating the search for an explanation. ## Review The strongest reason to watch *The Enfield Haunting* is Eleanor Worthington-Cox, who makes Janet Hodgson frightening when there is little obvious incident to help her. Kristoffer Nyholm’s three-part series is a good chiller with a worthwhile interest in family distress, though its storytelling becomes less assured as it proceeds. It gives the actors something to do beyond indicating that something dreadful might happen. For much of its length, that attention to the people involved makes the uncertainty involving rather than merely frustrating. We were unsettled by Janet even when little was happening. Eleanor Worthington-Cox makes the character difficult to read, and we keep studying her without feeling that we have understood her. A performance in a ghost story can too easily become a collection of cues telling us when to be alarmed. Here, our interest in Janet lasts beyond the immediate prospect of a fright, which is essential if the family drama is going to matter. The cast around her helps. Timothy Spall as Maurice Grosse, Matthew Macfadyen as Guy Lyon Playfair and Juliet Stevenson as Betty Grosse give the drama a credible human scale. Rosie Cavaliero’s Mrs. Hodgson belongs to the same recognisable world, which matters in a story so exposed to the risk of exaggeration. Joshua St. Johnston’s writing is strongest when family distress is allowed to be troubling in its own right, without having to serve simply as preparation for the next scare. Jacqueline Abrahams’s production design contributes to that credibility. Its attention to detail makes the surroundings feel inhabited, and keeps the setting from becoming a conspicuous collection of things intended to frighten us. Kristoffer Nyholm handles the relationship between those surroundings and the performances well. His direction gives the family drama sufficient weight to remain interesting when the mystery is not advancing, allowing us time to consider the characters rather than continually anticipate the next disturbance. Benjamin Wallfisch’s music is effective support, although it makes less of an impression than the performances. The relatively uneventful passages are also where Matt Platts-Mills’s editing is most persuasive: our attention stays with Janet without requiring a constant supply of incident. The pacing across the three episodes is less secure. There is room to deepen the family drama without letting the story wander, so its weakening sense of direction becomes a frustration that the quality of individual scenes cannot quite overcome. A ghost story can leave questions unresolved and still feel carefully told. Here, Joshua St. Johnston’s writing becomes less disciplined about what deserves our attention, while the push towards a more conventional horror payoff feels too forceful for these performances. We will not describe the developments. The disappointment is that the series has already demonstrated how effectively it can frighten us without such insistence, particularly through Eleanor Worthington-Cox’s performance. For viewers who want a tightly managed mystery, those reservations matter. This is better suited to an evening when there is time for family tensions and for performances that do not explain themselves immediately. The uneven storytelling need not rule it out for anyone who enjoys that kind of patient unease. Choose it for Janet, with modest expectations of how neatly the writing will bring everything together. *Fi1m score 77, published 7 October 2026.* ## Straight answers **Is The Enfield Haunting worth watching?** *The Enfield Haunting* is worth watching for its unsettling performances and credible family drama; we score it 77 out of 100. Eleanor Worthington-Cox’s Janet makes it a good choice for those who enjoy patient unease, though the story wanders across three episodes and pushes too hard for its horror payoff. **How long is The Enfield Haunting, and what is it rated?** *The Enfield Haunting* has episodes of about 45m. It is a drama and mystery series. **Where can I watch The Enfield Haunting in Sweden?** *The Enfield Haunting* is not on any streaming or rental service in Sweden at the moment. It is available in 8 other countries; change your country at the top of the page to see where. Availability is checked daily. ### Reviews we read (2) - **The Guardian**, Julia Raeside (90/100, inferred): Raeside calls the series an outstanding, beautifully directed chiller, though it also works as a study of family breakdown and hysteria. She particularly praises Eleanor Worthington-Cox’s performance for making Janet frightening even when little is happening. [Read](https://www.theguardian.com/tv-and-radio/2015/may/11/enfield-haunting-review-chiller-supernatural-1970s-poltergeist) - **Variety**, Brian Lowry (70/100, inferred): Lowry finds the miniseries pretty good, though its story loses direction and its ending feels overly Hollywoodized. He praises the realistic performances and meticulous attention to detail. [Read](https://variety.com/2015/tv/reviews/the-enfield-haunting-review-ae-ghost-miniseries-timothy-spall-1201612653/) ## Details - **Created by:** Guy Lyon Playfair - **Creator:** Guy Lyon Playfair - **Director:** Kristoffer Nyholm - **Writer:** Joshua St. Johnston - **Editor:** Matt Platts-Mills - **Music:** Benjamin Wallfisch - **Production design:** Jacqueline Abrahams - **Cast:** Timothy Spall as Maurice Grosse; Matthew Macfadyen as Guy Lyon Playfair; Juliet Stevenson as Betty Grosse; Eleanor Worthington-Cox as Janet Hodgson; Fern Deacon as Margaret Hodgson; Rosie Cavaliero as Mrs. Hodgson; Joey Price as Johnny Hodgson; Karen Lewis as Dr. Anita Gregory - **Runtime:** 45m - **Release (Sweden):** 3 May 2015 - **Genres:** Drama, Mystery ## Where to watch in Sweden Not streaming, renting or buying in Sweden at the last check. Also available in: AU, CA, CL, CO, FR, IN, MX, US. Add `?region=XX` to this URL for another country. ## Awards - BAFTA Television Awards 2016: British Academy Television Awards (nominated) ## If you liked this - *The Innocents* (1961): Children and a carefully observed household become increasingly difficult to trust. - *The Stone Tape* (1972): Investigators bring equipment to a haunting and discover the limits of confidence. - *The Devil's Backbone* (2001): Children, grief and a troubled building give its ghost story human weight. - *Dark Water* (2002): Damp rooms and family anxiety make the supernatural feel uncomfortably close. - *Lake Mungo* (2008): A family’s grief gives this patient haunting its most troubling moments. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/the-enfield-haunting