Film
When Animals Dream
- Body horror
- Very dark
A Danish horror-drama about a teenage girl whose body begins transforming in disturbing ways. Sparse and unsettling, it uses genre machinery to explore isolation, family trauma, and the terror of losing control of yourself. Quietly devastating rather than jump-scare scary—for viewers drawn to dread over gore.
Should you watch it?
Watch it if you are drawn to slow, bleak body-horror that works more like a folk tale about adolescence and inherited shame than a jump-scare machine, and you like your dread quiet and physical.
Skip it if you need a brisk plot or clear answers, since it moves at a patient, brooding pace and keeps its strangeness unexplained for much of the running time.
What it asks of you: Around eighty-five minutes of steady, mostly hushed attention, with long still shots on a cold island and a mood that stays grim and unhurried from start to finish.
Not sure? Find tonight's pick in a minute.
If you liked this
The Witch2016
Meticulous period horror about a family fractured by suspicion and supernatural dread. Every frame drips with atmosphere and genuine menace. Slow-burn excellence from Robert Eggers.
But Deliberately paced to the point of glacial. If you need plot momentum or jump scares, this will feel like punishment rather than cinema.

Ginger Snaps2000
A werewolf film that uses transformation as a metaphor for female adolescence: messy, violent, and impossible to hide. Darkly funny and genuinely touching about sisterhood and bodily betrayal.
But The budget shows in places, and the effects are very early-2000s. Some tonal whiplash between horror and comedy won't land for everyone.

Under the Skin2014
Scarlett Johansson as an alien hunting humans in Glasgow. Hypnotic, strange, shot like a fever dream. The kind of film that rewires how you see ordinary streets and faces.
But Deliberately cryptic with minimal plot or dialogue. Long stretches of silence and ambiguity will frustrate anyone wanting clear narrative or emotional closure.

Not sure tonight? Get a pick in a minute, starting from When Animals Dream
The wildcard
Something you would not have found on your own.
Let the Right One In2008
Both use genre trappings to explore adolescent isolation and the terror of being unknowably different. The monster isn't the threat—loneliness is.
A Swedish vampire film that's really about childhood loneliness and how the damaged recognize each other. Tender and brutal. Tomas Alfredson's direction is immaculate—every image matters.
But Quiet and deliberately paced. The vampire mythology is subdued; if you want action or traditional scares, you'll be disappointed. The ending is ambiguous about whether salvation is possible.

More like this (8)
Hereditary2018
A family horror film that treats grief and inherited trauma as seriously as supernatural evil. Ari Aster's direction is meticulous; Toni Collette is phenomenal. Genuinely upsetting in the best way.
But Extremely bleak and violent toward its characters. The ending divides people sharply. Not cathartic—it ends in genuine darkness.

The Invisible Man2020
Leigh Whannell's reimagining uses the genre to explore abuse and gaslighting with furious intelligence. Tense, clever, and emotionally credible. It wants you angry and afraid for the right reasons.
But More psychological thriller than pure horror. If you're watching for scares, the real dread is interpersonal rather than supernatural.

Raw2017
French body-horror about a vegetarian girl discovering carnivorous urges at veterinary school. Graphic but profound—a coming-of-age film that treats desire and appetite as terrifying and real.
But Contains genuinely grotesque imagery and sexual violence. Not squeamish-friendly. The pacing is deliberate; plot takes a back seat to mood and viscera.

A Dark Song2016
An Irish supernatural drama about grief, faith, and desperation. Two people in a house, slowly unraveling something cosmic. Quiet, strange, and deeply moving beneath the strangeness.
But Glacially slow with almost no traditional plot. Long takes of people talking or sitting. Requires patience and tolerance for ambiguity about what's actually happening.

Goodnight Mommy2015
An Austrian film about twin boys whose mother returns from surgery wrong somehow. Unsettling atmosphere, committed performances, and a twist that makes you rethink everything.
But Graphic violence toward children and animals. Aggressively unpleasant in ways that feel gratuitous even after the reveal. Not interested in your comfort.

Carrie1976
Brian De Palma's masterpiece: bullying, telekinesis, and maternal horror in a high school. Operatic and controlled, with genuine empathy for its alienated protagonist.
But The prom sequence hasn't aged particularly well visually. De Palma's style can feel mannered to modern eyes. Some find it dated rather than timeless.

Nymphomaniac: Vol. II2013
Both films treat bodily transformation and shame as a source of horror that's deeply internal rather than external. The monster is yourself, and you can't escape.
Lars von Trier's epic, transgressive examination of desire, shame, and female sexuality. Explicit, painful, and weirdly compassionate. Charlotte Gainsbourg and Stellan Skarsgård are extraordinary.
But Graphic sexual content, self-harm, and violence. Over four hours long. Von Trier's sensationalism will feel exploitative to many. Deliberately designed to provoke and alienate.

Kes1970
Both films find tragedy in adolescence—the moment when you realize your body or circumstances won't let you escape what you are. The despair is the same even if the mechanism isn't.
Ken Loach's 1969 film about a working-class boy and a hawk. Neorealist, intimate, and quietly devastating. The boy finds agency and beauty nowhere else, making his eventual return to powerlessness unbearable.
But Slow, plotless, and bleak. No supernatural elements—the horror is pure social and economic. Yorkshire dialect. For patient viewers only.

People
Cast
Sonia SuhlMarie
Lars MikkelsenThor
Sonja RichterMother
Mads RiisomFelix
Jakob OftebroDaniel
Stig HoffmeyerDr. Larsen
Esben DalgaardBjarne
Gustav Dyekjær GieseEsben
Directing
- Jonas Alexander ArnbyDirector
Writing
- Rasmus BirchScreenplay
Production
- Christoffer BoeExecutive Producer
- David Atlan JacksonExecutive Producer
- Henrik ZeinExecutive Producer
- Jean-Baptiste BabinExecutive Producer
- Joel ThiboutExecutive Producer
- Tine Grew PfeifferExecutive Producer
- Jacob JarekLine Producer
- Caroline SchlüterProducer
- Ditte MilstedProducer
Recommended by
Speak No Evil, Black Christmas, Martyrs Lane, Bad Moon, The Locker Room, Habit