When the found footage genre came to be in the late 90s, the cinematic technique was hailed as an inventive, tenable new perspective on horror that was great for budgetary restraints. Although, since then, the genre has become clichéd and stale, titles often disregard the realism aspect that made the films popular to begin with.
The Strange House/The Scary House is proof that Austrian cinema deserves attention, even if one doesn’t consider famous directors like Michael Haneke or Jessica Hausner. It is also proof that Netflix hides its international content well and that it’s sometimes worth your time to just type in a language name in the search bar in
Post Mortem (2020), Hungary’s first horror movie of international acclaim, is one of the best ghost stories I’ve ever watched. With scenes that rival Frances Ford Coppola’s ability to create atmosphere, Post Mortem explores death and the macabre in such a way that the viewer may get so wrapped up in the story that they