Genesis follows Lily and her husband, Charlie Carpenter, a couple in their early thirties quietly falling apart inside a rural farmhouse inherited from Charlie’s father. Lily, an agoraphobic artist still haunted by a childhood coma that left her temporarily paralysed, secretly performs ritualised asphyxiation to feel control over her body. Charlie, unable to face his hidden sexuality, seeks anonymous encounters with strangers. Their private compulsions hold their marriage together in a fragile, unspoken equilibrium. They both know their lives are built on lies—lies that feel safer than the truth.

This balance fractures when Sam and Hannah Cross arrive next door. Sam, a severe, cult-like presence, and Hannah, his unsettlingly youthful companion, first appear as eccentric but intriguing neighbours. Yet their charm soon curdles. They slip into Lily and Charlie’s routines, testing boundaries, dissolving privacy, and infiltrating their emotional space. A psychological game of mimicry—mirrored gestures, echoed phrases—deepens into ritualistic horror as Lily and Charlie’s identities begin to erode. What starts as a strange intrusion escalates toward something irreversible: the theft of the self.

Sam and Hannah exploit the psychological fault lines of their victims, using hidden fears and repressed desires as points of entry. As the distinctions between self and other blur, Lily must confront the fear that has shaped her life—losing control of her own body—and, for the first time, fight for the life she has always fled from.

Because Sam and Hannah are not simply neighbours. They are fallen angels on the run, surviving by leapfrogging through a chain of stolen bodies, desperately escaping the wrath of God.