This weekend sees the release of the Canadian horror film Undertone, written and directed by Ian Tuason in his directorial debut and released by A24. As an independent studio, A24 has released some of the best horror films in recent years, and it appears that Undertone follows suit, according to early buzz and reviews. Given the Friday the 13th release date, you might be in the mood for more frights following your screening of Undertone, and if you want more of the A24 genre fix, we’re here to help you with suggestions on the five A24 horror films you should check out if you liked this latest release.

5. Saint Maud (2019)

Undertone uses sound to escalate its psychological horror, and Saint Maud is similar in the sense that its atmosphere rewards a slow burn payoff, much like this latest A24 release. Written and directed by Rose Glass in her feature directorial debut, Saint Maud follows Katie (Morfydd Clark), who becomes a devout Roman Catholic, now known as Maud, that becoms a private carer and becomes obsessively fixated with saving the soul of her patient. This is a horror film from A24 that has polarized the general audience since its release because of the movie’s pacing and the ambiguous nature of its structure, but should you pick up what the movie is putting down, Saint Maud represents a masterclass in atmosphere, complete with haunting visuals that stay with you and a score from composer Adam Janota Bzowski that adds to the film’s escalating dread. Morfydd Clark also gives a committed performance as Katie/Maud that expertly conveys her obsession and desire to save this new patient after an event from her past has left her reeling with guilt. Some have debated how much of a horror film this actually is because there have been criticisms that it was mismarketed as a genre film when some view it more as a psychological drama, but it’s still a haunting experience that ends on a final shot that is certainly hard to shake.

4. The Monster (2016)

The Monster isn’t often talked about among some of A24’s best releases, but it’s definitely a film you should check out. While more of a monster movie than a psychological experience, it’s still drenched in atmosphere and driven by some effective character work from Zoe Kazan and Ella Ballentine. Written and directed by Bryan Bertino, The Monster follows a mother named Kathy (Kazan) and her teenage daughter Lizzy (Ballentine). Kathy is an unstable alcoholic, and Lizzy has made it clear that she no longer wants to live with her mother because she has grown tired of taking care of her. While on their way to drop off Lizzy with her father permanently, the pair find themselves stranded on a country road as a creature begins hunting them, which leads to mother and daughter having to depend on each other for survival. Bertino, who knows a thing or two about creating immersive atmosphere thanks to his work on The Strangers, gives The Monster a similar tense atmosphere that becomes claustrophobic with each passing moment. Aiding the atmosphere are the performances from Kazan and Ballentine, who hit all the right emotional notes as a mother battling her addictions and a daughter who is tired of feeling neglected because of them. The duo holds the film together thanks to the emotional weight they bring to their performances. The Monster is more character-driven than a straightforward horror movie, but it offers up its share of frights and kudos to have the titular character created with practical effects rather than succumbing to standard CGI that has become the norm in films like this today. It’s a movie that doesn’t deserve to be slept on as much as it has been since its release, and certainly is worthy of your attention.

3. Midsommar (2019)

There are different types of immersive horror films. Some use technical aspects like sound design and cinematography, while others use psychological torment to dig deep into your psyche. Midsommar is one of those films, a movie so immersive in its desire to get into the main character’s head that it’s nearly impossible to shake once it’s over. Written and directed by Ari Aster, Midsommar follows American couple Dani (Florence Pugh) and Christian (Jack Reynor), who follow their friends to a nine-day midsummer festival in Sweden after Dani suffers an earth-shattering and tragic event involving her parents and her sister. However, after arriving, it’s soon apparent that they’re being drawn into a dangerous cult that offers up its own psychological terrors. This is another polarizing A24 release for some, but Aster, coming off his incredible work with A24’s Hereditary, offers something different, yet uniquely terrifying in its own right. Midsommar works because it subverts expectations, especially from a visual standpoint, as Aster and his cinematographer Pawel Pogorzelski allow much of the film’s horror to play out in broad daylight. There is also something strangely hypnotic about Midsommar, almost like a fever dream that the audience is experiencing firsthand with the characters. There are no monsters to speak of, in the traditional sense, and most of the fear comes courtesy of escalating psychological terror that grows more and more unnerving. While the ensemble is good as a whole, it’s Pugh’s raw and emotional performance that gives Midsommar much of its power. She has spoken publicly about the mental toll this film took on her and how she will never go that far for a movie again, but the payoff is in her performance. As Dani becomes immersed in psychological warfare, the audience is right there with her for every exhausting and terrifying moment.

2. Talk to Me (2022)

With Undertone leaning into the paranormal and supernatural, it only feels fitting that you should check out A24’s highest-grossing horror film, Talk to Me, which took supernatural elements and spun them into an original horror tale that stands as one of the best in recent years. Directed by Danny and Michael Philippou in their feature directorial debut and written by Danny Philippou and Bill Hinzman, from a concept conceived by Daley Pearson, Talk to Me focuses on a group of teenagers who discover they can contact supernatural spirits when using a severed embalmed hand. The industry is always craving originality, so it’s refreshing when a movie like Talk to Me comes around because even though the haunting element may draw inspiration from other supernatural horror films, the movie’s underlying theme of the teenagers becoming addicted to the experience of possession is what makes the story unique. They are equal parts startled by the fear and yet uncontrollably drawn to it. This makes Talk to Me a more character-driven experience as well, with Sophie Wilde leading the way as Mia, a character struggling with a strained relationship with her father due to her mother’s death from an accidental overdose. Mia is given layers worth exploring, and it’s wonderfully conveyed by Wilde’s emotional and layered performance. The tension that the Philippou brothers create is palpable, with them utilizing sound design and visuals to escalate fear. In addition to this, Talk to Me can be quite visceral with scenes that genuinely shock (watching Riley (Joe Bird) violently bang his head against a table due to his possession is a moment that won’t be soon forgotten). Talk to Me easily remains one of the best horror films of the last few years and a testament to what the Philippou Brothers have to offer for the genre.

1. Hereditary (2018)

A24 has released a plethora of horror films, but none have solidified themselves as a modern horror masterpiece quite like Hereditary, a film that not only is a masterclass in supernatural horror but also a solid psychological drama about how much grief can destroy a family. Written and directed by Ari Aster, Hereditary focuses on Annie Graham (Toni Collette), a woman grappling with grief who soon finds herself uncovering unnerving secrets about her dead mother. Hereditary, like many of the horror films that A24 has distributed, functions as much more than a mere genre film. The horror elements are there in spades, but the film is equally about a family being torn apart by grief. It’s a psychological family drama about the things that go unspoken when turmoil affects a family and how it can rip a family apart from the inside out. Hereditary, despite how successful the film was at the box office, was dismissed by some opening day audiences with a baffling “D+” CinemaScore, and that was likely due to the fact that the film is depressing to its core and leads with that before gradually escalating into a tale of supernatural horror. It’s not an easy watch by any means, but it pays off with growing tension and dread that is carried by stellar performances, particularly that of Collette, who does career-best work here that should’ve earned her an Academy Award nomination (this one still burns today). This is another example of slow-burning horror, but Aster’s style and commitment to his story make every moment of Hereditary tick and turn the film into a stellar example of blending deep-seated drama and horror effortlessly.

Undertone hits theaters nationwide this Friday.

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