Two apprentice shamans head deep into the Vietnamese mountains to help their mother, whom they believe has been possessed by the blood demon Phí Phông. As unexplained deaths begin to mount, things quickly spiral out of control.

I’ve always had a soft spot for films where the supernatural is simply part of everyday life. Here, there’s no question that demonic forces are real, and that evil has to be confronted, often at the cost of human lives. Phi Phong: The Blood Demon blends Vietnamese folklore, bloody rituals and a striking rural setting with a creeping sense of dread that slowly gets under your skin.

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It’s winter in small-town America, and we follow Sheriff Deb (Toby Poser) through one very strange day on the job. People are disappearing, the dead are rising, monsters are lurking in the woods, and, of all things, mysterious holes resembling giant assholes are suddenly appearing in the ground.

The Adams family has a filmmaking style all their own. Everyone gets involved, and their films are made on extremely modest budgets. This is true DIY cinema from mother, father, and their two daughters. With The Glorious Dead, they venture into slightly Fargo-esque territory, and the film marks their sixth feature since 2019.

We had the pleasure of meeting John Adams, a genuinely delightful guy, at London FrightFest this past August. Unfortunately, the family won't be able to attend Ramaskrik due to an already packed festival schedule, but they will introduce the film digitally

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Ramaskrik is the perfect place to test a horror film on an audience that truly loves the genre. The feature film Heks, directed by Severin Eskeland, was presented at last year’s Ramaskrik and is still in production.

This time, Severin is bringing a work-in-progress version for you to watch and give feedback on after the screening. Feedback will be collected digitally via mobile phone.

NB: This screening is in Norwegian with no subtitles.

Margot Romero works as a content moderator and comes across a series of online videos that make her uneasy. They look real and appear to show people being killed. Before long, she discovers that the footage bears a striking resemblance to scenes from the legendary Faces of Death series, which emerged in the late ’70s and continued through the ’80s, movies that claimed to contain real murders. She needs to find out what’s going on.

For this writer, the original films were the stuff of legend – shocking VHS viewing we stumbled upon at far too young an age. It felt forbidden, but we had access to it, and it left its mark on a young boy’s psyche. In that sense, perhaps it wasn’t so different from social media today.

Faces of Death 2026 isn’t a remake, but instead mixes modern technology with the myths surrounding the original series in a fresh, energetic way. Whether you know the original films or not, this is a smorgasbord of slasher thrills.

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A remote coastal town in the South Korean countryside is suddenly attacked by something none of the residents have ever seen before. Mysterious events begin to unfold, and it soon becomes clear that something highly unusual is happening.

Hope has been described as South Korea’s most expensive film production and premiered in the Midnight Section at the Cannes Film Festival in May, where it was met with a highly positive reception.

The film is directed by Na Hong-jin, the man behind the fantastic The Wailing from 2016. Hope is intense, surprising, fast-paced, action-packed, and unexpectedly funny, exactly the kind of film it’s best to know as little as possible about beforehand.

Deep in the American desert, just outside a trailer park, sits a private and secret military research facility. The mastermind behind it all is a German scientist with roots in the Nazi era, who settled in the United States after the war and has developed unstoppable super-soldiers. When they go completely off the rails — read: rogue — Celeste, a military sniper, must protect her daughter.

Adam Wingard delivers hard-hitting action horror. Wingard has previously made films such as You’re Next, The Guest and A Horrible Way to Die, as well as a couple of Godzilla/Kong movies. With the A24 film Onslaught, we once again get to see his love of grindhouse horror, packed with great references.

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The older sister, wonderfully played by Lizzy Caplan, persuades her younger sister, played by Lucy DeVito (Danny DeVito’s daughter), to be the getaway driver for what is supposed to be a simple burglary. Along the way, we also get to know the homeowner, played by John Stamos, who is thoroughly convincing in the role.

Of course, everything goes wrong from the very first moment, and the title gives you a pretty good idea of what happens next. There’s humor, suspense, and this was without a doubt one of the best films we saw at this year’s London FrightFest! The film is set for a U.S. release in January 2027. The film can perhaps best be described as a dark, grown-up version of Home Alone, only way funnier. Highly recommended!

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Did you like Train to Busan? Then you’re almost guaranteed to enjoy Colony as well! Director Yeon Sang-ho returns in top form with a new, intense genre film that builds on the energetic cinematic style he is known for.

This is big, classic South Korean blockbuster zombie action, delivering plenty of high paced suspense and an original twist on the familiar zombie genre. It all begins, of course, with a virus outbreak in a high-rise building. The zombies multiply rapidly, the building is sealed off, and the survivors must fight not only for their own lives, but for the future of humanity.

Seen by five million moviegoers in South Korea!

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Get ready for an intense cinema experience. Imagine being on a solo dive, only to be swallowed by a whale, together with an angry squid. Whalefall is based on Daniel Kraus’ novel from 2023 of the same name. It’s a kind of chamber piece, but set inside a chamber few of us know particularly well, with a soundscape that make Whalefall a truly sweaty experience.

If you haven’t read the book, we won’t spoil what happens, except to say that it involves a tricky situation, very little oxygen, entrails, and plenty of drama. This one really has to be seen on the big screen!

This year’s opening film will have its first and exclusive screening in Norway at the Ramaskrik Film Festival.

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Three women enter into a three-year pact to awaken the witches within and conquer the male-dominated black metal scene. Together, they form the band Witch Club Satan. With their aggressive sound and grotesque, blood-soaked performances, they defy the odds and find success. But their embrace of paganism and Satanism also provokes outrage. In a witch trial worthy of the 17th century, they face condemnation and the flames.

Driven by aggressive witch shrieks and primal roars, Hex’s Dolby Atmos soundtrack delivers one of the year’s most visceral sonic experiences.

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Galicia, Spain, 1976. An sinister past slowly but surely creeps into what was meant to be a pleasant family dinner. Bad conscience and a cruel history, the Spanish Civil War and Franco’s dictatorship, simmer beneath the surface. The horror is always lurking but rarely explicit. As in John Carpenter’s The Fog (1980), no one can hide from the misty monsters of the past.

Victor Català announces himself as a filmmaker to watch with his feature debut, with atmospheric cinematography and a colour palette inspired by the 70s. They Always Come at Night is not without humour, but oozes of slow, gothic melancholy and mystery.

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Painter Eleni has withdrawn from the world around her. After losing all three of her children in a tragic accident, she is consumed by overwhelming grief. Desperate to bring them back, she enters into a Faustian pact with dark, feminine forces from the underworld.

Filmed in an abandoned village in Cyprus, Motherwitch makes striking use of the island’s dramatic mountain landscape. The film takes its time building a deeply unsettling atmosphere, weaving together fairy tale, Gothic horror, mythology and practical effects into a distinctive work of folk horror. Its setting in British-ruled Cyprus in the 1880s adds further layers of unease and colonial violence to the film’s richly textured world.

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Mathilda Lutz, known for Revenge (2017), stars as the caretaker of the Paradiso Palms apartment complex. One of the residents has brought home a venomous spider, a species that reproduces at an incredibly rapid rate. The police seal off the apartment complex from the outside world to prevent the infestation from spreading, while the residents who are still alive must battle an overwhelming and ever-growing army of spiders that is taking over the entire complex. They come up with ingenious ways to avoid being bitten, and this is one tough caretaker!

Love spiders? You’re guaranteed not to get over your fear of them after watching this delightful, well-crafted and entertaining insect thriller!

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Pumpkin loves Halloween. It’s her favorite time of year, and she wants nothing more than to share it with family and friends. The problem is, the apocalypse has already happened, and she appears to be the last surviving girl on Earth. Undeterred, on the night before Halloween, she decorates her home, stocks up on mountains of candy, and sends out an invitation over her radio transmitter, hoping there’s still someone out there.

Hallowarrior may sound like a comedy, but this is a dark, bloody, and atmospheric tale. Milly Shapiro (Hereditary) delivers a wonderful performance as Pumpkin, a sweet, kind-hearted young girl whose only wish is to hand out candy. As it turns out, there will be both tricks and treats before the night is over.

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In Saccharine, medical student Hana is desperate to lose weight. When she hears about a mysterious diet pill that promises almost instant results, she sets out to uncover its secret ingredient, and make a version of her own. But what seems like a shortcut to the body of her dreams soon spirals into a waking nightmare when she discovers what the pills are really made of.

Saccharine serves up gloriously grotesque body horror in pill form, quite literally. Through deeply unsettling sights and sounds, the film explores body image, impossible beauty standards, and the relentless pursuit of an ideal that always seems just out of reach.

One word of advice before the screening: eat first. We can almost guarantee you’ll have lost your appetite by the time the credits roll.

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French slasher alert!

An abandoned and sealed-off high-rise in a French suburb sets the stage for an intense nightmare, where anyone who dares to enter could quickly become the next victim. Something is hiding inside the building, but who, what, and why?

It’s all about pure survival, floor by floor, as the claustrophobic high-rise grows increasingly threatening. A dark, intense, and highly effective slasher/thriller that keeps the tension high and your nerves firmly on edge.

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The young woman Airi helps dead souls move on to the afterlife. Her work has now brought her to a large, remote house, where she meets a woman and her adult son. Together, they begin to unravel what the man haunting the house is really looking for.

What at first appears to be a traditional haunted-house story quickly takes some delightful turns and plays with different genres. Never After Dark is a well-crafted and engaging film that leaves you with a deeply unsettling feeling as the truth gradually comes to light.

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Indonesian genre maestro Joko Anwar made his mark with Satan’s Slaves and Impetigore. Now he’s back, combining martial arts, extreme violence, and comedy in what may be the wildest prison movie ever made.

After his editor is found murdered, journalist Dimas is sent to a maximum-security prison. There, he joins forces with Anggoro and his gang, the only inmates willing to stand up to the sadistic head guard’s reign of terror. But then someone starts killing off the prison’s most dangerous inmates.

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Fall 2: Deadpoint picks up not long after the ending of Fall. We follow Jax, Shiloh’s younger sister, who never made it home after the events of the first film. Jax is grieving the loss of her sister when she is approached by Luce, one of Shiloh’s friends. Together, they set out to honor Shiloh by climbing a plank walkway high up on a mountainside in Thailand. Needless to say, it doesn’t exactly turn into a trouble-free trip.

Fall 2: Deadpoint manages the impressive feat of taking the original’s simple concept and developing it into something more. There are more layers here, along with subplots that help make the film both exciting and, at times, almost unbearable. If you’re prone to a fear of heights, it might be a good idea to make that trip to the bathroom before the movie starts. Consider yourself both warned and encouraged!

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A documentary that makes us want to dive into the spirited madness of the prolific work of producer and director Charles Band, who has given us movies like Trancers (1984), Head of the Family (1996), The Gingerbread Man (2005) and Evil Bong (2006). Not a critical documentary, but a joyful tribute to a low-budget filmmaker who got things done. By taking us through a big chunk of Charles Band’s vast filmography, using interviews, archival footage and snippets from his movies, Sarah Appleton’s documentary offers an intriguing glimpse into a recent epoch of film history that deserves more attention.

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Saga and her British husband Jon dream of starting the perfect family and move to a remote house deep in the Finnish forest, where Saga spent much of her childhood. But when their baby is born, Saga immediately senses that something is terribly wrong, despite everyone around her insisting there is nothing to worry about.

The chaos of early parenthood has rarely been rendered in such bloody, hairy fashion. Blending folk horror, satire and creature feature, the film serves up ominous Nordic landscapes, primal female power and bursts of brutal violence, all driven by a soundscape creepy enough to scare the devil himself. If you remember Bergholm’s previous film, Hatching (2022), you’ll have a pretty good idea of what you’re in for.

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Caleb Phillips impresses with an original, at times funny and highly entertaining thriller/horror/sci-fi film.

The greatest fear a parent can have is losing their child. In the film, Marie and Paul (Charlie Barnett) experience exactly that. Marie uses every means at her disposal to get her son back, and she succeeds. However, Paul becomes suspicious of how she managed to do it. The film takes many twists and turns and delivers an ending that is well worth waiting for!

Jessica Rothe (Happy Death Day) gives a wonderful performance as a mother who will do anything to keep her family together.

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Serial killer Mauro is out on his usual hunt on a Friday night. He stops by a roadside bar and meets Amaranta. He thinks she’ll be an easy victim …

You’ll find several Spanish films in this year’s Ramaskrik programme, and director Javi Prada emerges as a new voice in Spanish horror. Gummy is unpredictable, playful and gruesome, with a twinkle in its eye. A fresh, boundary-pushing genre mash-up. Experience the international premiere of Gummy in Oppdal.

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It’s the early 80s, the heyday of the B-movie slasher. Michael, the sleazy porn studio boss, sees an opportunity to make a fortune and brings his usual porn crew along to shoot a slasher film he has written himself. The plot is simple: scantily clad students are picked off by a mysterious and bloodthirsty beekeeper. For the actors, memorizing lines proves to be a challenge in a film with barely any penetration, and things get even more complicated when they start dying one by one …

Friday the 69th is an ultra-low-budget B-movie horror tribute, shot entirely on an iPhone and partly in the same house where The Texas Chain Saw Massacre was filmed. It’s bloody, great fun, and gloriously silly!

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Welcome to the modern workplace! In Grind, we are presented with four interwoven stories set in a dystopian present. We get a glimpse into the intense pressure to perform within a multi-level marketing company, the endless and repetitive routine of a food delivery driver, the digital horrors faced by a content moderator at work, and, not least, what happens when the employees at a coffee shop decide to unionize.

Grind is a dark comedy that, just a few years ago, might have been considered a dystopian vision, but which, in today’s United States, will likely seem like only a slight exaggeration to many. The film explores what it means to be a worker in a world defined by economic inequality and ruled by endlessly greedy oligarchs, wonderfully personified by Rob Huebel and Barbara Crampton.

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Brothers Rob and James are on their way to their father’s funeral, accompanied by their respective partners. They stop at a rural roadside diner run by a family that probably doesn’t have the most extensive family tree. After a very uncomfortable meal, they continue on their way, only to end up in a car accident that quickly turns into a full-blown nightmare.

Boxcutter isa nasty, mean-spirited film, in many ways the bastard child of The Texas Chain Saw Massacre and the French extreme cinema movement. After a slow build-up, the film explodes in its second act, delivering discomfort of the highest order. The filmmakers have extensive experience with practical special effects, which is evident in the film’s brutal and highly effective shock effects.

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Toilet horror has become a staple of Ramaskrik, and this year’s rowdy contribution comes from Brazil. Malu runs an event agency in São Paulo and is tasked with organizing a gender reveal party for a major influencer. But while the pregnancy comes with its own surprises, guests and residents of the apartment building alike fall victim to ravenous forces lurking in the toilets.

With exquisite direction and practical effects, we’re served generous helpings of filthy, disgusting madness. It’s bloody, hilarious, and, above all, political. Bon appétit!

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Best friends Ligia and Mayte dream of the ultimate quinceañera, hoping it will finally make them popular at school. But then Ligia becomes pregnant, and the creature growing inside her is not only a threat to herself, but to everyone around her.

This coming-of-age body horror is packed with just as much playful charm as it is blood and gore. The film explores anxieties surrounding sexuality, adulthood, peer pressure, and the fear of what an unpredictable future might bring. One of the film’s strengths lies in the performances of Greta Martí and Macarena Oz, who bring an authentic, raw energy to their roles.

If you enjoyed Ginger Snaps (2000) or Eighth Grade (2018), Fifteen is one to catch!

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Corey Harlan wakes up in what appears to be an ordinary British terraced house. It turns out, however, to be a bizarre machine, with every door opening onto strange, violent and war-torn worlds. In his search for answers, Harlan is joined by Aclima, a mysterious interdimensional being.

Bulk is something quite rare: a low-budget, “high-concept” science fiction film about a failed string theory experiment! Shot in gorgeous black and white, the film is a confusing and psychedelic brain teaser, filled with hand-drawn animation, collages and practical effects. It feels homemade and brings to mind experimental works from the 60s and 70s, or, for that matter, the early episodes of The Twilight Zone. The small ensemble cast, all the roles are played by just four actors, wholeheartedly embraces Wheatley’s distinctive vision and gives it their all, bringing to life a deranged world of scientific puzzles, post-apocalyptic car chases and shoot-outs. And the end credits are a work of art in their own right!

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It’s a scorching summer day in 1986, and Penny Lane is having a sleepover at her family’s summer house with her best friends, Toni and Amy, to celebrate getting into university. The trio are expecting a quiet weekend getaway, but things spiral out of control when Penny’s cousin Kat shows up with her much-too-old, recently released boyfriend. And a prank involving cupcakes goes horribly wrong.

Frantic, bloody and packed with groovy ’80s vibes, with strong female roles and larger-than-life personalities. A chaotic, high-energy film that keeps up the pace. This is an absolute blast from start to finish.

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