Film
Wish You Were Here
Other titles called Wish You Were Here: the 1987 film.
A mystery thriller about four friends on holiday in Cambodia where one vanishes without trace. When they return home, the fractures in their story widen into something uglier. It's a taut, paranoid character study that asks what we're capable of hiding from each other—and ourselves. For anyone who loves slow-burn tension and moral ambiguity.
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Mystic River2003
Three childhood friends reunite as adults when a crime pulls them back together, forcing them to confront secrets they've buried for decades. Masterfully builds dread through character and history rather than plot mechanics.
But At nearly two and a half hours it's deliberately paced, and the resolution hinges on interpretations some find frustratingly ambiguous rather than satisfying.

The Accused1988
A woman is gang-assaulted and the film methodically excavates the gap between what happened and what people believe happened. Raw, unflinching examination of truth, trauma, and how stories get twisted in retelling.
But The violence is brutal and not stylized—it's designed to make you uncomfortable, which is entirely the point but not everyone wants that evening.

Sharp Objects2018
A journalist returns to her hometown to investigate a murder and finds herself trapped in her family's dysfunction. HBO's adaptation is impeccably cast and shot, with Jean-Marc Vallée's direction making every frame feel claustrophobic and alive.
But It's deliberately messy and the lead character actively sabotages her own investigation. If you need a protagonist you root for, this will frustrate you.

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The wildcard
Something you would not have found on your own.
Before the Flood2014
Both examine what people can endure, what they're willing to do, and how narratives about 'what happened' become weapons. The geography shifts stakes irreversibly in both.
Aneil Karia's stunning documentary follows Syrian refugees in Lebanon, showing the specific, grinding weight of displacement. It shares Wish You Were Here's interest in how people's stories about themselves diverge from external reality, and how geography becomes destiny.
But It's a documentary about real suffering, not a thriller—the tension is existential and there's no mystery to solve, only people trying to survive. The mood is devastating.

More like this (8)
Red Lights2012
Two paranormal investigators pursue a famous psychic, each convinced the other is deluded. Expertly constructed puzzle-box that keeps you guessing what's actually true until the final minutes.
But The twist is either brilliant or feels like a cheat depending on your tolerance for unreliable narration. Some audiences feel genuinely angry rather than impressed.

Gone Girl2014
A wife vanishes on her anniversary and her husband becomes the prime suspect in a media frenzy. Fincher's adaptation is viciously entertaining, exploring how stories about women get weaponized and rewritten by everyone around them.
But It's dark in a way that can feel misanthropic—if you're looking for characters to empathize with, you'll be disappointed and possibly unsettled by the film's own glee.

Shallow Grave1994
Three Edinburgh flatmates discover a dead body in their spare room and decide to hide it. Boyle's debut is kinetic and darkly funny, watching ordinary people make increasingly terrible decisions when confronted with moral choice.
But The tonal shifts between comedy and violence might feel jarring, and it's somewhat dated in its sensibility now, though not fatally so.

The Dinner2017
Two couples meet for dinner to discuss something unspeakable their children have done. Oren Moverman extracts extraordinary tension from a single room and four people slowly revealing what they're capable of justifying.
But It's essentially people talking around a table for two hours. If you need external plot machinery to stay engaged, this will feel static.

Killing Zoe1993
An American safecracker arrives in Paris for a job and gets entangled with a group that's planning something far darker. Beumont's film is disorienting and seductive, all style and moral vertigo—what starts as heist becomes something else entirely.
But The narrative is deliberately opaque and the violence sudden and shocking. It can feel like style overwhelms substance, and some will read it as indulgent rather than artistic.

Picnic at Hanging Rock1975
Three girls and a teacher vanish during a school outing in Victorian Australia. Weir creates unbearable, almost supernatural tension—the mystery itself is less important than the psychological unraveling it triggers in the community left behind.
But It's glacially slow and the ending is deliberately inexplicable. For viewers who need closure or answers, this will feel like punishment rather than art.

Looking for Mr. Goodbar1977
Both use holiday/escape as a pressure cooker where people reveal who they actually are beneath their social masks. Both ask uncomfortable questions about complicity and choice.
A schoolteacher leads a secret nightlife, picking up men in bars and making increasingly reckless choices. Ulu Grosbard's film is blunt and unsentimental about desire, risk, and the gap between how women present themselves and what they actually want—or need.
But It's a film about self-destruction filmed without pity. The acting is naturalistic to the point of discomfort, and the ending is brutal and real rather than cathartic.

The Vanished2020
A tight, confined group dynamic where every person becomes suspect and the mystery becomes an engine for revealing what people will do to each other when the social contract breaks down. Both are really about trust and its collapse.
A couple at a lakeside resort searches for a missing girl while their own marriage fractures under the pressure. Peter Facinelli (directorial debut) builds paranoia and dread through interrogation scenes that feel like a marriage imploding in real time, not a missing-persons procedural.
But It's grueling and claustrophobic in ways that can feel punishing rather than entertaining. The pacing is deliberately suffocating and characters make infuriating choices.

People
Cast
Joel EdgertonDave Flannery
Teresa PalmerSteph McKinney
Felicity PriceAlice Flannery
Antony StarrJeremy King
Nicholas CassimJoe Canane- Otto PageMax Flannery
- Isabelle Austin-BoydHolly Flannery
Tina BursillMargie McKinney
Wayne BlairWillis
Valerie BaderHelen King
Pip MillerJim King- Robbie HislopDelivery Doctor
Directing
- Kieran Darcy-SmithDirector
- Drew BaileyFirst Assistant Director
- Jo WeeksScript Supervisor
- Betty FotofiliSecond Assistant Director
- Facundo QuirosThird Assistant Director
Writing
- Felicity PriceScreenplay
- Kieran Darcy-SmithScreenplay
Production
- Kirsty McGregorCasting
- Stevie RayCasting Associate
- Killian MaguireExtras Casting
- Michael CodyLine Producer
- Tiare TomaszewskiLine Producer
- Angie FielderProducer