A new indie Ben Wheatley horror film is always cause for a celebration, especially as he seems poised to tackle big budget fare pretty soon with Meg 2 and Tomb Raider 2 potentially on the horizon. But he’s not the only reason to check out Sundance Film Festival 2021’s Horror and Genre slate. From revenge to werewolves and lavishly designed films films to animation, and queer films to films featuring BIPOC, the horror programming looks really strong. Here’s a breakdown of the horror and genre films you can expect for this online version of Sundance Film Festival.

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The Blazing World

Ever since Margaret (Carlson Young) was six years old, she has been haunted by the memory of watching her sister drown during an explosive fight between her parents. As a young woman, she slides further into her twisted inner life, ultimately finding herself on the brink of suicide. Through an epic journey down the smokiest and scariest corridors of her imagination, she tries to exorcise the demons pushing her closer and closer to the edge. World premiere

Censor

Film censor Enid takes pride in her meticulous work, guarding unsuspecting audiences from the deleterious effects of watching the gore-filled decapitations and eye gougings she pores over. Her sense of duty to protect is amplified by guilt over her inability to recall details of the long-ago disappearance of her sister, recently declared dead in absentia. When Enid is assigned to review a disturbing film from the archive that echoes her hazy childhood memories, she begins to unravel how this eerie work might be tied to her past.

Coming Home in the Dark

Winding down a desolate road through an endless valley, Alan and Jill stop their car to take their teenage boys on a hike through the New Zealand wilderness. As they rest for a picnic at a clearing overlooking the water, two ominous-looking drifters appear out of nowhere, silently surrounding the peaceful clan and radiating a threat of imminent danger. With a swift act of violence, these men take the family by force, a seemingly random decision that sets them all on a maddening collision course with the ghosts of their pasts—from which there is no escape.

Eight for Silver

In the late nineteenth century, brutal land baron Seamus Laurent (Alistair Petrie) slaughters a Roma clan, unleashing a curse on his family and village. In the days that follow, the townspeople are plagued by nightmares, Seamus’s son Edward (Max Mackintosh) goes missing, and a boy is found murdered. The locals suspect a wild animal, but visiting pathologist John McBride (Boyd Holbrook) warns of a more sinister presence lurking in the woods.

First Date

Mike, a high school kid with a crush, finally summons the courage to ask Kelsey out on a date. With a date but no wheels, Mike borrows money and gets duped into buying a clunker ’65 Chrysler. Although many a first date goes awry, Mike’s swiftly descends into a surreal misadventure that finds him inexplicably targeted by a pair of cops, a criminal gang, and a vengeful cat lady—with all roads leading to a showdown.

A Glitch in the Matrix

Rodney Ascher (Room 237, 2012 Sundance Film Festival) returns to the Festival with this fascinating and visually stimulating documentary examining simulation theory—the idea that this world we live in might not be entirely real. Simulation theory is as old as Plato’s Republic and as current as Elon Musk’s Twitter feed. A Glitch in the Matrix traces the idea's genesis over the years, from philosophical engagements by the ancient Greeks to modern explorations by Philip K. Dick, the Wachowskis, and leading scholars, game theorists, and enthusiasts. Ascher deftly parallels conversations with people who believe we're living in a computer with the purely digital nature of the film itself; all interviews were conducted via Skype, all reenactments were digitally animated, and archives are largely drawn from ’90s-era cyber thrillers and video games.

In the Earth

As a deadly virus ravages the world, Dr. Martin Lowery embarks on a mission to reach test site ATU327A, a research hub deep in the Arboreal Forest. The arduous journey, guided by park scout Alma, is set back by a nighttime attack that leaves the two bruised and shoeless. When they run into Zach, a man living off the grid, they gratefully accept his help. Zach’s intentions aren’t exactly what they seem, however, and a path out of the forest and into safety quickly fades as the line between myth and science blurs.

John and the Hole

While exploring the neighboring woods, 13-year-old John (Charlie Shotwell) discovers an unfinished bunker—a deep hole in the ground. Seemingly without provocation, he drugs his affluent parents (Michael C. Hall and Jennifer Ehle) and older sister (Taissa Farmiga) and drags their unconscious bodies into the bunker, where he holds them captive. As they anxiously wait for John to free them from the hole, the boy returns home, where he can finally do what he wants.

Knocking

What. Is. That. Noise. When Molly hears knocking coming from the ceiling in her new apartment, she naturally searches for the source. The upstairs neighbors don’t know what she’s talking about and dismiss her with cool indifference. Is this all in her mind? After all, she’s still processing a traumatic event that left her mentally unwell, and the unprecedented heat wave isn’t helping her think clearly. As the knocking intensifies and gives way to a woman’s cries, Molly becomes consumed with finding out the truth. Could it be Morse code? Is someone trapped? And more importantly, why doesn’t anyone care?

Passing

Irene Redfield (Tessa Thompson), a refined, upper-class 1920s woman, finds breezy refuge from a hot summer day in the grand tearoom of New York City’s Drayton Hotel. Across the room, she spots a blond woman staring her down. Irene wants to steal away, but before she can, Clare Kendry (Ruth Negga) rushes over to stop her. It turns out the two were in high school together, and while both are African American women who can “pass” as white, they have chosen to live on opposite sides of the color line. Now, their renewed acquaintance threatens them both.

The Pink Cloud

Giovana and Yago are strangers who share a spark after meeting at a party. When a deadly cloud mysteriously takes over their city, they are forced to seek shelter with only each other for company. As months pass and the planet settles into an extended quarantine, their world shrinks, and they are forced to come to terms with an accelerated timeline for their relationship. With all their other interactions governed by screens, and with the strain of isolation setting in, Giovana and Yago struggle to reinvent themselves and reconcile the differences that threaten to tear them apart.

Prime Time

New Year’s Eve 1999. Twenty-year-old Sebastian, armed with a gun, hijacks a TV studio and takes two hostages—a famous TV presenter and a security guard. His plan? No one seems to know, including Sebastian himself. His demand to deliver his message, whatever that may be, via live broadcast is repeatedly thwarted by an uncertain police force and an egotistical network chairman. As the night wears on, Sebastian and the hostages bond in unexpected ways, while those in power fumble to restore order.

Prisoners of the Ghostland

In the treacherous frontier city of Samurai Town, a ruthless bank robber (Nicolas Cage) is sprung from jail by wealthy warlord The Governor (Bill Moseley), whose adopted granddaughter Bernice (Sofia Boutella) has gone missing. The Governor offers the prisoner his freedom in exchange for retrieving the runaway. Strapped into a leather suit that will self-destruct within five days, the bandit sets off on a journey to find the young woman—and his own path to redemption.

Strawberry Mansion

In the not-too-distant future, an all-seeing surveillance state conducts “dream audits” to collect taxes on the unconscious lives of the populace. Mild-mannered government agent James Preble (Kentucker Audley) travels to a remote farmhouse to audit the dreams of Arabella “Bella” Isadora (Penny Fuller), an eccentric, aging artist. Entering Bella’s vast VHS archive, which contains a lifetime of dreams, Preble stumbles upon a secret that offers him a chance at love—and hope for escape. Kentucker Audley and Albert Birney’s playfully surreal romantic fantasy envisions a world not so different from our own: a glitchy digital dystopia where every human experience is monetized—where even our unconscious minds have been colonized by advertising.

Superior

When Marian is on the run, she goes to the only place she knows is safe: her childhood home. She is greeted by her estranged sister, Vivian, a stay-at-home housewife struggling to conceive and on the verge of a failing marriage. Though the two are identical twins, they live opposite lives. Marian’s mysterious return disrupts Vivian’s small-town routine, and the sisters must learn to reconnect and reconcile. When Marian's haunting past finally catches up to her, their separate worlds collide, catapulting both sisters into grave danger.

Violation

Unhappily married Miriam and Caleb join Miriam’s somewhat-estranged sister Greta and husband Dylan at a lakeside cabin for a weekend of relaxation and reconciliation. Feeling spurned in attempts to connect with both Greta and Caleb, Miriam increasingly retreats to the easy comfort of her friendship with the affable Dylan. After a transgressive act of sexual violence, the film’s narrative vividly fractures, disorienting audiences while inextricably tying their experience to Miriam’s as she embarks on a vicious crusade of revenge.

We’re All Going to the World’s Fair

Late on a cold night somewhere in the U.S., teenage Casey sits alone in her attic bedroom, scrolling the internet under the glow-in-the-dark stars and black-light posters that blanket the ceiling. She has finally decided to take the World’s Fair Challenge, an online role-playing horror game, and embrace the uncertainty it promises. After the initiation, she documents the changes that may or may not be happening to her, adding her experiences to the shuffle of online clips available for the world to see. As she begins to lose herself between dream and reality, a mysterious figure reaches out, claiming to see something special in her uploads.

Wild Indian

Makwa, a young Anishinaabe boy, has a rough life. He often appears at school with bruises he says he got falling down, but no one believes him. He and his only friend, Ted-O, like to escape by playing in the woods, until the day Makwa shockingly murders a schoolmate. After covering up the crime, the two boys go on to live very different lives. Now, as adult men, they must face the truth of what they have done and what they have become.

SHORTS

Ghost Dogs

A family's new rescue pup is terrorized by deceased pets in this mind-bending horror.

Little Miss Fate

When the opportunity arises, Little Miss Fate slips into the role of the world leader. She unintentionally creates a monster that greedily wants to suck up all the love of the world. Overwhelmed by the rapid development, she loses control.

Trepanation

What was once familiar is now unrecognizable. All previous desires are overshadowed by the need to disappear completely.

Unliveable

In Brazil, where a trans person is murdered every three days, Marilene searches for her daughter, Roberta, a trans woman who is missing. Running out of time, she discovers one hope for the future.