Film
Sweet Home
Other titles called Sweet Home: the 2020 series (Netflix).
A Spanish home-invasion thriller that traps a couple in a semi-abandoned building with a hooded killer still living there. Lean and propulsive, built on the simple terror of enclosed spaces and nowhere to run. It's for people who want their horror genuinely scary rather than clever—eighty minutes of mounting dread with no time for you to catch your breath.
If you liked this
Hush2016
Deaf woman alone in a house with an intruder. Brilliantly simple premise that becomes unbearably tense. Every sound—or silence—matters. Mike Flanagan understands how to make confinement feel inescapable.
But The home-invasion formula feels familiar, and some of the character choices strain credibility. You've seen versions of this.

Alone2020
Woman hunted through the Pacific Northwest by traffickers. Relentless and claustrophobic despite being outdoors. The stalking never lets up, and the film trusts silence and geography to build dread instead of jump scares.
But Grim and exhausting to watch. The bleakness never lifts, and some will find it punishing rather than thrilling.

You're Next2013
Home invasion but the victims can fight back. Sharp writing, genuine wit, and the camera moves with real urgency. It knows when to be terrifying and when to let you breathe.
But Leans harder on genre savvy than pure scares. If you want dread without the winks, this might feel too clever.

Not sure tonight? Get a pick in a minute, starting from Sweet Home
The wildcard
Something you would not have found on your own.
Martyrs2008
Both use confined spaces and ordinary settings to trap viewers in escalating psychological terror. Both refuse to look away from what's happening, making the audience complicit.
French New French Extremity landmark. Two women hunt the people who tortured them. Starts as revenge thriller, becomes something far more philosophically horrifying. The disconnect between what horror usually promises and what this actually delivers is the point.
But Extremely graphic violence, torture, and self-harm. This isn't entertainment—it's confrontational. Many won't finish it, and that's fair.

More like this (8)
A Dark Song2016
Two people trapped together in an isolated house as something dark unfolds. Slow-burn and deeply unsettling, with an atmosphere that gets into your bones. Masterful tension between the ordinary and the supernatural.
But Deliberately paced and ambiguous. This isn't a plot puzzle to solve—it's a mood. Patience required.

Goodnight Mommy2015
Austrian horror about two children in a house with something very wrong. Visually stunning and psychologically disturbing. The cinematography alone justifies watching, and the ending rewires what you thought you were seeing.
But Deeply unpleasant. Contains child endangerment and body horror. Not a film to enjoy so much as endure and contemplate.

The Wailing2016
South Korean mystery-horror that spirals outward from a village crisis. Complex, layered, and genuinely frightening without relying on cheap scares. Operates on logic all its own—refreshingly unpredictable.
But Two and a half hours and deliberately confusing. Requires active attention and rewards multiple viewings more than one.

Raw2017
French-Belgian coming-of-age body horror about a vegetarian girl at vet school who discovers cannibalistic urges. Transgressive and beautiful. It takes its premise seriously as metaphor and visceral experience simultaneously.
But Graphic body horror and sexual content. Not subtle, and some scenes are genuinely hard to watch without flinching.

The Night House2021
Widow in her late husband's modern house as supernatural presence emerges. Atmospheric and genuinely moving. Rebecca Hall's performance anchors the psychological unease, and the design of the house becomes a character itself.
But Tonal shifts between grief drama and horror can feel uneven. Some will find it more sad than scary.

Caveat2021
Irish folk-horror about a man with memory loss hired to babysit in an isolated house. Genuinely weird and visually inventive. Uses practical effects and sound design to create something that feels ancient and wrong.
But Very low budget and willfully strange. If you need conventional narrative clarity, this will frustrate you.

GoodFellas1990
Both trap characters (and viewers) in spaces controlled by someone else where the rules keep changing. Both find horror in proximity to violence rather than violence itself.
Scorsese's mob film as propulsive horror: entrapment, paranoia, nobody can be trusted. The cocaine sequence alone is sustained dread. It's horrifying not because of monsters but because of how normal people become monsters.
But Three and a half hours. Some find Scorsese's style dated now. It's a film, not a thriller—rhythm matters more than plot.

Possession1981
Both feature ordinary interiors becoming inescapable labyrinths. Both understand that the worst horror comes from people you're trapped with, not external threats—the building itself becomes a character reflecting internal breakdown.
Andrzej Żuławski's utterly unhinged experimental horror about a marriage collapsing into nightmare. Part breakup drama, part supernatural chaos, filmed like someone is inside your skull during a fever dream. Isabelle Adjani is extraordinary.
But Deliberately chaotic and alienating. Long takes, weird performances, minimal plot. If you want coherence, you'll hate it. Some call it a masterpiece; others find it unbearable.

People
Cast
Ingrid García JonssonAlicia
Bruno SevillaSimon
José María BlancoSr. Ramón
Eduardo LloverasHooded Man 1
Luka PerošHooded Man 3- Oriol TarridaThe Liquidator
- Miguel Ángel AlarcónHooded Man 2
Leticia Dolera112 Operator (voice)
Mariona PerrierSra. Carmen
Directing
- Rafa MartínezDirector
Writing
- Ángel AgudoWriter
- Rafa MartínezWriter
- Teresa de RosendoWriter
Production
- Anna RóżalskaExecutive Producer
- Klaudia Śmieja-RostworowskaExecutive Producer
- Stanisław DziedzicExecutive Producer
- Jędrzej SablińskiPost Production Producer