After a traumatic labor, Saga wakes to the cries of her newborn son in his bassinet on the other side of the room. While most watching will likely pick up on baby Kuura’s negative reaction to sunlight—I couldn’t stop thinking about the pain it would have caused Saga to get up and gather her son herself. The irony of thinking about her struggles is further amplified by the cries and almost animalistic moans and later-described hairy body that are all chalked up as “normal” and that the couple has a perfectly healthy babe. After all, everyone insists that every baby and every pregnancy… is different.

Glow, directed by Jane Schoenbrun, was released in 2024, and has built up a not-undeserved reputation as being the modern trans horror film. Its protagonist is Owen, a timid individual with no close relationships, cannot look other people in the eye, and doesn’t appear to be able to understand or articulate his emotions. Owen bonds with an older girl, Maddy (Jack Haven), over a shared love of the fictional TV series The Pink Opaque. The show is mocked and derided by Owen’s abusive, hyper-masculine father as being “for girls,” so Maddy supplies Owen with videotapes of the show to watch in secret.

The knee-jerk synopsis you’re likely to hear most frequently for CAMP is a dreamy, mumblecore version of The Craft. And honestly, that’s a fair place to start. Like that ’90s classic, CAMP does center on a group of teen girls who form a coven, of sorts, and their magic does have real manifestation. Unlike The Craft, though, CAMP doesn’t really have a Fairuza Balk type character that drives a movie-defining wedge into the sisters, CAMP’s coven is one of empowerment and support—for better or worse.

The revenge film is back, baby! Izabel Pakzad’s directorial debut looks to add a new voice to the resurgence of the revenge film with Find Your Friends, a movie about five friends partying in Joshua Tree who find themselves at odds with a group of locals.

If you want to sell me on a movie, you’ve got plenty of options. Folk horror, for sure, will get my attention, but mentioning a mythological creature or two will have me listening closely. Make that movie found footage, and suddenly, I’m leaning forward in my seat. Then I found out that the film comes from Australia—the country that has some of the bleakest, most unique, and culturally rich horror stories we’ve seen in decades—well, then there’s no question: It’s a must-see for me.

Beyond the Drumlins is a folk/cosmic horror film directed by Daniel W. Bowhers and co-written by Bowhers and Michael Kowalski. WSB had the pleasure of viewing Beyond the Drumlins at last year’s Thriller Picture Show Festival. In this interview, Ande sits down with composer, Johnny Tomasiello, an artist based in New York City, who gives a deeper look into his incredible and experimental process for scoring the film.

When Alice Maio Mackay was 16 years old in Adelaide, South Australia, she released her first feature film, So Vam, which was then acquired and distributed by Shudder. Just two years later, she was already releasing her third and fourth films. Now, at 21 years old, she’s about to release her sixth venture, The Serpent’s Skin. It’s also her best.

Throughout the decades, slasher film villains have had their fair share of bizarre motivations for committing violence. In Jamie Langlands’s The R.I.P Man, killer Alden Pick gathers the teeth of his victims to put in his own toothless mouth in deference to an obscure medieval Italian clan of misfits.

The Twisted Childhood Universe gathers steam with it’s latest addition of Peter Pan’s Neverland Nightmare—a slasher that embraces the complexity of queer characters.

Bones and roots adorn the walls of their dimly lit home. A mjölnir necklace hangs around K.’s neck as he hand carves incense into a small cauldron burner and a breathy soundtrack begins to play. This is a couple that is in tune—with themselves, with the natural world, and, as we will soon see, the supernatural world, as well. 

Co-director of New Fears Eve, P.J. Starks, talks about the making of his newest hit on Screambox, working with industry legends, and what’s next for both “The Doctor” and the director, himself.

In his feature directorial debut, Alex Kugelman looks to peel back the layers of nepotism and gatekeeping in Hollywood in Don’t Trip. Starring Matthew Sato and Will Sennett, and with appearances by Fred Melamed and Chloe Cherry, Don’t Trip follows Dev Ryan, a struggling screenwriter whose desperation to get his script into the hands of a producer sends him hurtling toward a (comically) tragic end.

LandLord isn’t going to color inside the lines. Sure, it’ll color inside some of the lines, but this coloring book wasn’t made by someone looking to retread all the cliches. It was made by someone who almost wants you to fall for some of the tropes. If you fall for the tropes, after all, you won’t be expecting the punch.

Last year, I found myself at odds with the majority of moviegoers who saw Winnie-the-Pooh: Blood and Honey.  The reactions generally ranged from apathy to vitriol—how dare they stain the reputations of such loveable public domain characters? That film garnered only 50% approval from audiences on Rotten Tomatoes, and a shocking 3% from critics.

As a masked figure called the “Sweet Angel” goes viral in a social media challenge, three teens play the game as a joke, each nominating someone they’d like to see die. But when they are unexpectedly chosen by the Angel, they’re forced to follow through on their nominations, or risk death themselves.

In both mainstream and indie circles, true crime-inspired thrillers are on the rise, and directors at this year’s Pittsburgh Moving Picture Festival Thriller Picture Show did not disappoint.

With the long-awaited remake of Nosferatu by Robert Eggers quickly approaching, it’s a great time to dust off your old favorite vampire flicks to amp yourself up. Whether you’re an Interview with the Vampire (1994) person or you’re more into The Lost Boys (1987), or even if you’re a 30 Days of Night (2007) fanatic, vamps have the unique ability among monsters to adapt to almost any kind of story.

This past weekend saw the conclusion of the Pittsburgh Moving Picture Festival’s third annual Thriller Picture Show, where dozens of horror-loving filmmakers descended on the Lindsay Theater in Sewickley to meet, chat, and above all, enjoy a wide variety of shorts and features.

What Sleeps Beneath is excited to sponsor the Third Annual Thriller Picture Show, with our Director of Content, Ande Thomas, honored to serve as one of this year’s judges. 

The COVID-19 pandemic has left a lasting scar on the world, but one of the few silver linings that we can take from the experience is the sea of pandemic-inspired horror that came out of quarantine.