Danielle Deadwyler is a woman in demand in Hollywood. Her recent credits include award-winning dramatic turns in the historical biopic “Till” and the August Wilson film adaptation of “The Piano Lesson” as well as an FBI agent in the crowd-pleasing Netflix thriller “Carry-On.”

After “Carry-On,” she opted to go a bit more intimate in the horror thriller “Woman in the Yard.”

She plays Ramona, suffering from grief and depression after her husband dies in a car crash, struggling to raise two kids (Peyton Jackson and Estella Kahiha) in an isolated farmhouse. The electricity is out, there’s no gas in the car, she’s hobbling on crutches and her cellphone is dead.

That’s when a woman, shrouded in a veil, shows up in the front yard and all sorts of weirdness ensues.

In fact, Ramona evokes her character Berniece in Netflix’s well-received “The Piano Lesson,” who is also grappling with the death of her husband and possible spectral beings.

Deadwyler, who has a son, chose to work on “The Woman in the Yard” in part because it was a study in “what it means to navigate motherhood.”

The farmhouse is in Bostwick, Ga., which she describes as a “sweet little country town” about 60 miles east of downtown Atlanta. She noted the home was also used in “The Piano Lesson,” though she was not involved in that particular scene. (Some interiors were shot at Athena Studios in Athens.)

The film is darkly tense and claustrophobic. It only has five cast members with speaking roles. Outside of flashbacks, the entire movie is set at the farm.

“It’s an exploration of family, of this woman’s inner world,” Deadwyler said.

Jackson, who plays her bewildered 14-year-old son Taylor, said working with Deadwyler was an honor.

“She’s really amazing and talented,” Jackson said. “She really brought more than just the horror aspect of it. She let me sink into my character. When it comes to the end of the movie, my character kind of knows where it’s going.”

“The Woman in the Yard” is produced by Blumhouse, which has become known for its horror franchises like “Paranormal Activity,” “Insidious” and “Purge.”

In a critical review, Fangoria’s Jordan Hoffman said the third act of the film is sloppy but gives props to Deadwyler’s commitment to her role. “Deadwyler, an executive producer on the project, is a real tour-de-force in this,” he wrote, “and milks her scenes of desperation and despair for all they are worth. This is a movie loaded with shortcuts but she’s not taking any of them.”