John Rosman’s New Life takes this distillation of the subgenre to create an impressive, emotionally-charged debut that weaves together veins of horror and drama to create a unique take on a well-trod path, one that will leave its audience both moved and uncomfortably in touch with their own mortality.

One of the most anticipated features among attendees to this year’s FrightFest, Viljar Bøe’s Good Boy, is a bizarre and unsettling Norwegian thriller that will have even the most ardent of dog lovers think twice before letting their pooch sleep in the same bed.

Comedy splatter legend (and the mastermind behind such Criterion classics as Zombie Ass: Toilet of the Dead and Mutant Girl Squad) Noboru Iguchi’s IDOL NEVER DiES played as the main feature of the inaugural Tokyo Horror Film Festival, which took place on July 1 in Tokyo’s Nakano ward. The festival also featured an exclusive Q&A with director Iguchi himself.

Despite what a particularly vocal subset of haters might crow online, horror has always explored the well-solidified connection between familial trauma and the supernatural. Countless horrors spanning all eras, from Don’t Look Now to Relic, have propounded the idea that far scarier than any ghost, ghoul or demon are the scars your family can leave on you - in the case of Nate Ki’s Back Home, both literally and physically.

One of the standout Taiwanese features played at this year’s New York Asian Film Festival was Ying-Ting Tseng’s The Abandoned, a bleak police procedural thriller that shone an uncomfortable spotlight on the harrowing realities faced by a country’s most vulnerable occupants.

Star of last year’s NYAFF hit Shin Ultraman, actor and filmmaker Takumi Saitoh returned to the fest this year with his second directorial feature Home Sweet Home – a slick and sinister thriller that subverts the image of the haunted house from dusty old mansion to something far more enviable.