Capture sells itself like a mashup of Goosebumps: Say Cheese and Die filtered through the grim paranoia of something like Session 9. What it ultimately becomes, though, is closer to The Boy or that whole subgenre where someone might be living in the walls, watching, waiting, breathing right behind you. That shift might throw some viewers at first, but the film is patient enough to earn the journey it takes.

The House Was Not Hungry Then is not interested in being your typical haunted house movie. Directed by Harry Aspinwall and told almost entirely from the house’s point of view, it is a slow, voyeuristic descent into stillness, absence, and quiet unease. From the very first shot, the framing and blocking do almost all of the narrative heavy lifting.

There is something feral in the water down in Australia right now. One genre banger after another keeps surfacing, and Dead Eyes is yet another reminder that the Aussies understand how to make horror feel mean, immediate, and deeply uncomfortable. Premiering at SXSW, Richard E. Williams’ Dead Eyes wastes absolutely no time getting weird.