HONEY BUNCH

HONEY BUNCH

Mystery, suffocating tension, and a masterful retro vibe

Homer lives and breathes for Diana and would do anything for his beloved wife. That’s why he drives her to an experimental rehabilitation center, tucked away in the middle of nowhere — and eerily reminiscent of the Overlook Hotel from “The Shining.”

Diana has only recently awakened from a coma after an accident and remembers very little. She also can’t recall ever agreeing to this treatment, but her husband reassures her that she did. Why would he lie? Once they arrive, the facility’s methods of care start to feel disturbingly like the torture scenes from “A Clockwork Orange.” Its corridors are like a fever dream, and Diana begins to suspect she can’t trust anyone — least of all her husband. Or herself.

The psychological thriller with horror elements, “Honey Bunch,” is a visually refined, masterfully crafted piece of cinema that premiered at this year’s Berlinale, immediately captivating critics with its atmosphere, sharp writing, nuanced performances, and pitch-perfect retro aesthetic. Every frame hums with a fascination for ’70s horror cinema, and the film’s numerous references to the classics of that era make spotting them a pleasure in itself.

“Honey Bunch” delivers moments of classic terror but also a more insidious, slow-burn unease, occasionally shocking the audience with sudden grotesquerie and gut-punch emotion.

The film is also a triumph of imagination for Madeleine Sims-Fewer and Dusty Mancinelli — partners both on and off screen — as well as for Grace Glowicki and Ben Petrie, who play Diana and Homer. Glowicki fans will also see her this year in the excellent “Dead Lover,” which she directed herself. Since its Berlin premiere, “Honey Bunch” has been making its triumphant way through the festival circuit, recently screening in Toronto and heading to Sitges in October. We envy anyone experiencing this Canadian gem for the first time.