Goodnight Mommy

Austrian, cold, and it gives away its own twist early enough that the dread is the point rather than the reveal.

Twin boys are alone in a modernist house in the countryside with a mother who has come home from facial surgery wrapped in bandages, and who is behaving differently. They decide she is not their mother.

Veronika Franz and Severin Fiala shoot it with total stillness: white rooms, flat light, long held frames, and a cornfield. It is closer to Haneke than to anything in this category.

The last act is extremely difficult to watch and the cruelty is unglamorous, which is worse.

Most viewers work out what is happening before the film says so, and it plays better that way. The American remake removes exactly that quality.