Our everyday lives, if we’re fortunate, may be placid, even contented. A rewarding job, for some; good eats; warm home; happy family; entertainment on tap. Yet, even for the privileged, awareness of impending change – probably disaster – intrudes.

Our entertainment is saturated with foreboding. In the Anthropocene, the hard-to-define era when the human collective has planet-wide effects that will endure for aeons, any new fictional world bears traces of the ways our real world is being made, or unmade.

It’s perhaps unfortunate that The North Water arrives on BBC Two only a few months after The Terror, since it’s impossible to avoid the parallels between them. They’re set only a few years apart (1859 for The North Water, 1845 for The Terror), both involve doomed voyages into Arctic waters, and each of them gets darker and bloodier as it depicts man’s inhumanity to man (and not just man) and the encroaching horror of a heart of darkness.

Lake Mungo (2008) is a dread-laden Australian Gothic thriller that masquerades as a straight-faced documentary.

Absorbed meets Allison at the end of her relationship with Owen. They are at a New Year's Eve party when she realises that their 10-year partnership has wound down. So far, so normal. But even within this introduction, we are drawn into Allison's head, the promise clear that the anxieties she hears on a daily basis will become secondary characters to the plot itself.

Zack Snyder’s CV includes such fantastic fare as Watchmen, 300, Man of Steel and his career-launching zombie-fest Dawn of the Dead, so who better to helm a zombies-in-Vegas heist movie?

Raw opens with a bang, a distant figure on a remote country road stepping out in front of a car, causing it to crash into a tree. What’s really happened isn’t made clear until we’re well into French director Julia Ducournau’s 2016 feature.

The horror novelist Sarah Langan recently compared motherhood to being treated like a game of Operation. “The point of the game is to correct us by removing our defective bones, to carefully pick us apart. It’s open season.” For the Mexican writer Brenda Navarro motherhood is also a sort of hollowing out, but it’s a different kind of open season.

Man’s strange relationship with other species haunts this freaky simian horror film from Psycho II director Richard Franklin.

Relic's deliberate drabness hits home first; set in Victoria, Natalie Erika James’s modern horror shows us a grey contemporary Australia, a place bleached of all colour.

Lockdowns must be good for something, right?