Honey Bunch provides a profound exploration of trauma and memory, weaving an eerie narrative within a hauntingly isolated setting.
Set to premiere on February 13, 2026, on Shudder, Honey Bunch, directed by Dusty Mancinelli and Madeleine Sims-Fewer, embarks on a journey into the unknown. The film follows Homer and Diana, played by Ben Petrie and Grace Glowicki, as they navigate a world reminiscent of classic horror tales. Their destination is a secluded experimental therapy institute, where Diana hopes to recover from debilitating memory and motor control issues resulting from a serious car accident.
Upon arrival, the atmosphere thickens with tension, echoing the unsettling ambiance of 1970s psychological thrillers. A disembodied point-of-view shot peers at them through a window, establishing a sense of voyeurism and unease. The welcoming demeanor of Farah, portrayed by Kate Dickie, reveals an unsettling detachment, hinting at the eerie dynamics within the institute.
For the initial hour, Honey Bunch unfolds at a deliberate pace, drawing viewers deeper into the ornate yet foreboding manor repurposed as a therapy center. The film employs slow pans and zooms to capture vast, empty hallways, amplifying the sense of isolation enveloping the characters. Warm golden light filtering through the windows creates a deceptive beauty that sharply contrasts with the dark secrets lurking within the estate.
As Diana’s therapy progresses, more than just lost memories surface; her growing frustration with her circumstances becomes evident. Initially compliant, Diana’s character evolves as she questions the motives of her husband and the medical staff. Glowicki masterfully navigates the complexities of Diana’s psyche, using subtle expressions and body language to convey her increasing anxiety and determination.
Homer oscillates between being a supportive spouse and revealing hints of a darker side. His insistence on overseeing Diana’s recovery suggests underlying guilt and past marital strife. This duality adds depth to their relationship, illustrating how trauma can both bind and fracture individuals. The film effectively explores the complexities of long-term relationships under significant emotional strain.
As the story reaches its midpoint, Honey Bunch transitions from psychological tension to a more grotesque narrative, aligning itself with the modern body horror genre. The revelation of the institute’s true nature disrupts the established rhythm, shifting focus to shocking plot developments and visual grotesqueries. However, unlike many films in this genre, it does not rely solely on shock value; it presents a tragic exploration of the human condition.
Despite this commendable focus, the latter half of the film struggles as the nuanced performances of Glowicki and Petrie give way to overt confrontations. The earlier subtlety of their interactions is replaced by explicit dialogue that elucidates the film’s themes, diminishing the tension that had been carefully cultivated.
In its concluding moments, Honey Bunch manages to reclaim some of its initial potency, weaving together its narrative threads into a thought-provoking exploration of morality and commitment. Drawing parallels to Mary Shelley’s Frankenstein, the film raises unsettling questions about the ethical implications of technological advancements and the nature of care. The genuine love shared by the characters complicates their actions, transforming their motivations into something both horrific and deeply human.
Ultimately, Honey Bunch serves as a chilling reminder of how trauma can shape relationships and the lengths one might go to in the name of love. Its unique blend of psychological horror and character-driven storytelling sets it apart in a landscape filled with formulaic narratives, inviting viewers to reflect on the darker aspects of human nature.